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THE

urtifntiii'iiti

A JOURNAL OF

VOL. IV.

PART I.— Contain IN«

LONDON:

I'RINTBD for THB PROPRIITItttll,

PUBLISHED BY SAMUEL LEIGH, No. 18, STRAND.

MDCCCXXVI.

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6-5-53

CONTENTS OF PART I.. VOL. IV.

T. mOGRAPHICAL MEMOIRS.

Uiovanni-Battista Pergolesi

Thomas Tallis ....

. 4S

John Peter Pixis

Dr. Christopher Tye

. 87

Nicolo Zingarelli

109

Simone Msyor ....

. 138

WUliam Birde

1&6

Pietro Winter^Supplementary Memoir of .

. 175

Giu.seppe Tartini

1B7

Thomas Morley ....

. 809

Nicolo Piccini ....

SSI

II. MISCELLANEOUS ESSAYS, CORRESPON-
DENCE. NOTICES, Ac

Anecdote* of Mozart, h\ Frederick Rochliti . . 4

Answpr nf Mptnc;(n'.ii-i In M. rVinBti^Hiix

Phi

Rifssini ami lin- Fr.-iii li Prfss.

_22

Musical Gleaiiiiutg in Africa

Remarks on llie proipross of Snunil

93. 114

Fiinerul Scrvicu lui ihu death of the Kiiiii ofPoitutjal 94

Wesley's I<ect>ire8 at the Royal Institution

Statemc nt.H reypectirt;; Mozart's Requiem

The Fitzwilliiim Mu Kie . . T

118
_UI

Medea in Corinlo. — PrMcramme of that Opera, wfah

Translations of the principal Sccuaa

134

Weber't Ohrrvn, — Revipw of the Muacin that Opera 141
particulars i)f tin- Dt-ntti ami Funeral of Carl Maria

VoB Weber. . . .. .. Jig

Mr. Plauche's Stanza.s to the Memory of Weher ■ 149

Letter on the Rpcjuiem to tl>c late Mr. Webt>e

157

Curioua Scieulific Particulars of the most celebrated

Orjfans ou the Continent . . 158,236

Miut/. ftf llii- SinrriP^.. , . . .

Another Frencli Miisiral Felon

\h9

Oa the chancres in Music during the last Thirty Yean

On the Orijfin and Capacity of the Jew's Harji .

161

(from the French) ....

Remarks on Rousseau's Music, by a Correspondent

162

Slate (if Mu<>ic ill Vietina, in lS2b .

Letter from One of the ill-paid Orchestru of the

I^Urr iViiiii Detectxir on the Character arul Onalifiita.

Kind's Theatre . . . .

162

tiDiLs ijf a itJ-iain Instructor of Youth in the

Carl Maria Von Wpher'n candid Criticism on the

Royal Acadeiiiv of Music

Merits of Meyerbeer . .

162

Rurmpse MLi.siciil Instruments

VcUuti and the Female Opera-SngCfS.

168

Ni w Viirk Opern .....

Winter's Dot UwUritrodteM Opfirfai. — Profnamme

Letter on the Nutlonal Soii^, " Gixl .save the Klngf,"

of that celebrated Opera, with Translation!; of

Festival at Weimar, 111 honour of Goethe

2 b

the principal Lyrical Piectrs .

176

Muhical Prize Qui'stiiiti at Amsterdam .

Account of the Yorkshire Amateur Mevtiiip

lfi4

Funeral Oration over Rossini, (from tbe FVench of

Birmrnpham Music-nl Fe^itivul . . . 1S5,

217

M. J»*') .....

Mozart and Salieri : — Curious Documents respecting

Present state of the Opera in Berlin

the Death of the first-named Composer, vindi-

Detector's Sec-(md Letter — "An Impostor nnmaslced"

Caliinr the Character of the latter, from certain

Some Account of M. Doieldieii's new Opera, La

a.spersions re^|)ectin(f the manner of Mozart's

nam, mnnchf .81.

111

Death .....

Two Letters by CaH Maria Von Weber, on the intro.

Present state of the Opera in Paris .

finriinn of hi* Fmsrhfit: lit the Odeou

An Apology for Siirnor Rossini

192

ObserTation!) on Muitic by tlie celebrated Jackson of

Observations on German Music, by the Banmess de

K\i-tpr .....

StaCI ......

193

LefliTh (111 the chantrp of the C clef. 47, 89

Barbaja and Rossini : — Letter revealina: the curious

t)ii Ihe Miisicnl Driimn

compact between that celebrated Mana^r and

l^»r nn thti TMkbfL Ttnlipn al Pnrig . ^

Composer .....

194

Rcmuks by a Corre^ipondenl on the Enfflish Words

Letter from a Correspondent, ou Weber's Lift of an

of Haydn"* Craitiun ....

Artitt .....

Eccentricities of Composers •

Musical Peifominnce at Ware

Miju'ellunmuiN .....

I.*tter from the Abbote Metastaaio to the Chevalier

On Psalm Sinf>iiV7> (extracted from D'lsraeli's fltrro-

Cha.stellux .....

211

titiei of Literaturt) ....

Some Account of Portuj^nese Music

212

Addenda to tlie .Memoir of Mehul, by M. Fayolte

Letter of Padre Martini to Nicolo Jomelli

814

The Royal Academy of Music and M. Bochsa

lU)S8ini'a ^i^l^t de Corinthe. — Particulars of the first

Financial Statement of the late Yorkshire Festival

repre^^entation of that Opera in Parts, with a

Unpubli.shed Letter from M. Chastcllux to Metasla^sio

Proiframnie of llie Plot ...

2I&

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Brecon Kistcddvod uiid Mu^jc Meeting

CONTENTS OF PART I., VOL. IV.

Vlir. PnRF.ION MUSICA L REPORT.

221

WetH'r's Stiihi't Matiyr, a posthutiiou.s Work

•235

Letter fniiii M. Faynlle on Mozart's Requiem

233

The Itiiliitii Opeia in Paris

237

Mu'<ical Tour in (ii'niiuiiv : — Extract from a Letter

231

Iroiii M. Moschelcs In a friend in London
Soint' Account (if u Latin Mtinnwript on Music, by

til.- f.'leliDili^i Tinctor . . '2^9,

Particulars of the Gloucester Mmic Meetings . 239
Letter from an Amateur, containing rtrictures on the

Birmingham Musical Festival 840
Quer)' concerning the Double-action Harp . . 840

III. REVIEW OF MUSIC, 18. 88. 54. 73. 95. 115.

141. 165. 196. 888. 841

IV. ANALYSIS OF NEW BOOKS

7. 113, 808

Covent Garden

V. THE DRAMA.

20. 42. 68. 107. 154. 230. 250

Dnirv Lane . . . 20. 48. 63. 8ti. 1 j-l, ii30, 2bO

Eiurli'-li Opera House .

. 154. 186

KinK's Theatre 80, 48, 63, 86,

107. 186. 154. 174, 196.

VL ORATORIOS

. 63.85

VII. CONCERTS. &c.

The Ancient Concerts .

81. 103. 186. 149

The Pliilharmoiiic Concerts .

83. 105. 128. 151. 250

Rovul Academic ConcerUi

. 83, 130, 152

Benefit Concerts for lfi26

. 131. 158

Festival ofthe Sons of the Clergy.

. . 188

Yorksliire Anuiteur Meeting

. 184

Binninnrhnm Mu'-ical Fc-tival

185. 217. 240

Mii^il;^ PLrlurmaiiCi- al \\iirt

Brecon Kistcddvod and Music Meeting . , . 281

Gloucester Music Meeting .

Amsterdnm 40. 80. 184, 250

AlfS'ULndria

_L2i

Bergamo

19. 108

Berlin 38. 79. 99. 171, 180.

Unlogna

305. 228, 247
19. 62. SO. 124,

Bordeaux

Brescia
Bremen

183. 207, 249
174
. 80
229

Bninswitk

40. 178

BnisM'ls

173

Dresden 6t).

205, 228, 247

Fpi-nm

. 183

Kerrani

2U7

Florence

40. 123

Frankfort-on-the Oder 89

— Maine 100,

Genoa . 40,

172,229
123, 183, 249

tirtiii.'-wuld

101

Leehom

108. 125

Leipsic

. 805

Madrid

Maffdeburg

. 100

Milan 17, 61, 101, 122, ISl,

Mo<lpn.i

200, 249

Moscow .

. 101

Mumch

88. 178. 848

Naples 18.61, 101. 181.

181, 849

Ni.w Yorfc
Norway
Nuremberg
Padua •

_2ila

80
IS

19. 62,183

Palermo .
Paris 19, 62. 80, 102. 126.
173, 183, 207, 229,249

Parma
Perugia

Pest, in Hungar)'

Piit<«»ngii

Pisa

Prague
Pram ■
Preabutg .

Reggio

Riga

Rome

Roueii

Sienna

Sini!;at;lia

Straslmrg

Stulgard

Tnaloum.

Trieste .

Turin .

19
19
. 40
185. 183
188

207

fii

68. 188

. 1113

125

ai
fin

IDS

102

40. 80. 12h. 1H3

Venice 17, 102, 126. 182
Verona ■ 125

Vienii* 87. 79. 99. 170.

180. 804. 887. 846
Udine ... 108
Waraaw . . 100. 126

Hfiimai . 60. 848

I\ OBmiARY.

Signer Ambrogno Minoja

Charles Inclcdon

Carl Maria Von Weber

EMBKLLisHMexT,— Bunncac Musical Instruments

to face page II

ERRATA.

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THE

HARMONICON.

No. XXXVII., jANUABTi, 18S6.

MEMOm OF ETIENNB HENRI MEltiUL.

EriBirirB Hbitbi MsHn.'wubom at Givct in Belgium.

Uie 8 tth June, 17(53. was iii:!i ])titl fur !iis musical

predilocliona to tbL« or^jan i,f Ihi- l ailietlral, iiccoiidid by
the organist, whose goiifl urar.'s he was 90 fortunntp as
lo obtain. He af'torwarils eii|..v('(! the inslrucli<iiiK oC n
more (skilful iiListcr : — tlw I'-arii' il ( icriiian. Ilins- r,
under ^^Lose auspiL'cs >Iehiil i3evoio<i hiinstlt ilnnnp;
three years to the practice of the organ and the slinlv
of oninlerpoint. Sn rapid wa.s the orogres* be made,
that «t tUi period he was able to npuce lia natter at
the organ ; and he would have become his sncceKsor, had
not the desire of glory led him to seek a more worthy
field for tba exeKiie af hia takota. He went to Pari* at
the age of rfzleoD, trbm he leoaivel intnelioiM firan
the celebrated Edelmann*, by whom^lie was ioitiaie<1
into all tbe hitlwr mjgleriea m ooinpoailiiw. The young
Mdial firtt oeoune known to toe public by a set
of lonataa, vhicb ma n i f etted a very deeided geniiu for
instrumental BMioi ttd laet villi a aaoat eneotnging re>

-At this fjxx-li, till- Ili-n'ules of dramatic imisif was
f)!'i--liii'^' a rovrilntiiji) in the l'r»Mich lyric theatre. The
trrejit f ivil war llint riip;«d between tlie (■Iiirki^ls nii<l
)^ic<'i:ii>ls, cDiilributed to ^ive n reality to that I Vench
School of Music, Mliich before hiul existed only in name.

Mehul htm him-telf reflated the following anecrlr>tes,
which merit a place here. He arrived in Paris, in
1770, at the moment that tbe Ipitifjrnie im Tauride of
<xluck was on the point of rcpreseutatioii. A friend
baTinz taken him to tbe general rehearsal of this piece,
and tlw yonng compoaer not being, aAer hti long journey,
emnfoend with noaqr, beeonoehed tbe idekof ooooeal-
ing bunaelf fat ooe of Ibe boaMi liieidcr t» wait for the flrM
representation, which was to take place the day following.
I^ing discovered, at the end of tbe rehearsal, in his
bi(liii};-plii( e, hy of the jx^rsons who bail the care of
tlic tlieatre, he was lurmil oiU in n very rough and uiicc-

* Tins coiupotcr wa* bom at Slraabourg in 1749 ; he compowMl
nunrtops work* ai well fat the piaaOi a* for the voice. Anon^ Ac
hiUT, a ^nd 5c«iia, cndtM ^rima Aau PkU ie Naaot, obuinpd
iniinrnau MKcot, as w«U for ill intrinsic mrril, as fur the fffiitlvc
DkUDn«r in which il wns eieculvd bv the c^U'brated >turtamn Mura.

In I7'JS, Edelmann onluppilv ilic (!i lii;li(rol j urimi rT

mtuic. fot that of the stoiniy i.c.lii\i:« ■•Mhi'. [•■r.n'l, \\v ■i\_u.A\i,.\
hinuelf asa fiiriaaaileinasofue, bihI uciisbvtl upon the saoH.' scaftoUl
10 which he had i w e l rt m mmf nedoMb aail aiBMC oihM% Ui
ixaeCMHw, the ' — "s-^j-

Toi. IT.

remonions manner. Glmk, hearing a noise in the house,
inquired the cause. Mehul, covered with eonrnsinn, nil-
fesscd to him, that not bein^ able to prtK ur'- a tieket fur
the next day's representation, he had veuliirc<l upon the
expptlient of Iiidins; himself in the house, in onler not lo
be deprivtil of so hi^'h n (^atiQealion. Slrtick with this
&in<]^lur iubtancc of devotion to the art, Gluck said to the
ynung mail ; " Not only do I here present you with a
ticket of adDiuion for to-morn>w, Imt I should like to
knowBMire aboet yoN. Here is mv address; come to-
morrow roomini; and see me." AVhat more conid •
young enthusiast desire i He scarcely slept the whole
night, but spent the time in compoaing a tort of addrete
to the greet auuiier, in wUeh, m temt of high vene-
ration, he r e qe e rte i i dwt be night be allowed to become
his disciple. The widied-fbr moment at length nrrivcd;
and he was ushered into the apartments of the great idol
of his ndmiralion. Seeinij a person seated in a closet
at the farther enil <if the room, in a robe de chambre, be
bet;.'in, with all <lue sob innit>, the spec! h, which he liad
learned bv heart, ilo liad jiist reacheil bis iim^t hrilliant
period, when bis eloquence Has inti'rnipled by a shrill voice,
cxclaiminc, — " \nmt <lo vnu A\aiitT 1 nin M.iihjine
Gluck!" But bis address had not Ik-ch without dm? (-flecl,
for at that moment (iluck entered from the adjoining
room, and holding out bis hand to Mehul, said; " J hara
lii :irJ it all. and from this moment consider jonradf aa
niy scbidar, or rather as my friend."

Guided by the {jrecepts, and animated by the exAm|dei
of BO great a painter of the naations, Mehul devoted him-
self tnth araonr te dvamalie conpnilion. But bb ae"
qaaintaiMe bad new baBame eztenaiie, and so importuned
was be by tbe visits of his nomavna fiiends, that be
foresaw that tbe opera which he had undertaken to set to
music, as his first ewiay in this, the most ardtwus depart-
ment of the art, wouM ne»er be finished. Having made
the acquaintance of M. de Noir, sujierintendent of mlice,
he re[)aire(l to his residence, and on beinj: ailniilted, tbifs
addres.sed him : '* I am come lo solicit a favour at your
hands." — " ^ ame ii." — " That you would shut tne op for
some weeks in the HastiUe." — " In the Bastille I for what
purpose ? " — '■ 1 " finish an opera which I hare engaged lo
set to music ; have you it in your power to oblige mc?"—
'• I really have not."— " We^ lien 1 most be my own
gaoler, and ga^vdj r iii|ieia«n a^ieU in mjr chamber till

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THE HARMONICON.

Nothing could be more brilliant than the drMl of
Mehul at the Opera Comiquc. It was with the opera of
rosine cl Coradin, taken from the days of chivalry,
full of interact mad ritwUioo, to whieb the compoMr biul
done jttsiioet ImMIi in pdnt «f «bwMt«r wid eiqiKnioii.
The diiel k omfiiiiit cninnife of jcdooqrt m always
mntioBod by Grttry m tenm of the mmeit praise.

i a piece in the highest degree dramatic.
EujJirnstne, however, was not tlie first produftion of
Mehul <if tlm dramatic kin<i ; In- Iiml alrrn'lv coiiijjosed an
opera eiitiilr'd A/imzD d Coi'!, uliirli was nut represented
til! al'terwnnis, at Xho Aciflrvu'i' A'.m/'I.''' 'If -l/urfgw, Md
met wiili a mcKlerale dejiree ut smcs'..

Hut th(! coniposiT amply nHlfftncd liis fani" bv tlie
prmiuction of Slrtilwurc, wliich critics have always re-
ganlcil as his masterpii'tc, as a composition more strongly
characteristic of his peculiar talent, than any other of his
WOrkH.

Of iastnunents, Mehul had made the Tioloncello hii
putieular study ; and he was ambitious — pediaps too
BMOh n— of rendering this noble imlnmMnt eoupi-
«win in all hh fieeutt tal m when ii bli outorly
IfMlOMnt of U dinUjrad 1o os nneh •dvantage as in
Ui Sinieniee, wbioi contains sefwal solo passages for
the violoncello, particularly that which forms the rilor-
ndlo of the patnelic air, f'fr«-: inn ins chatjrins dans
le tcin lyti'-ii:- ' . w-wr fc.iM'd lo excite the

admiralion ul <iiriuuisHt ur>. Jmli i ii, sL^criil of the or-
chesir.tl parts ut" lliis iijj'Ta |ini< lnim tlu' hand of n
mastiT, and none mure .so tiiaii in the scene in which
/iii> describes Iiis feelings on his first interview
w ild Sinilonice, where the instruments are made to reveal
the hidden cause of that Im, of whidi tlw air can only
paint the eflccls.
In a word, Siralmice possesses, both in its style and
r, an individuality of character ; the airs liavc

peat dflvatioa and truth of expression ; the accompa-
niwiila am foil witboat vofasiani and Iha wholo foroe

«rtbe

the

psofasiant

«f the huaunqr is dheded lo the
chams of the melody. Wo hen at
(enuine disciple of Gluck.

Unfortunately, a disiastrniis |Kri. (I in ilie annals- of
France, the reTulution, oblii^cd .M.-hul lo waste his admi-
rable lalcnt!« on jir. duf titiiis of temporary interest: such
are the occasional oj)* nistif Ih'ii.t, liuriUtus Corla, and Li
Gil erne. An cxccplion mils' , Imuf-ver, be made in favour
o( P/ti L<iiiit; ei Mdidorc, a cliurniing pricm from the pen
of Arnault, which, replete as it is with beauties of the
higher order, merited a better fate. It is sufficient to say
of the finale to the first act of this opera, that conuoissicurs
have considered it as the rival to that of Let dnut Journiet
bj Cherabini.

The mention of this oompoaer leads as to remark, that
the names of Hehnl and UhemUni are not less aaia-
dalad in laaM, than in ftkndahipb It is ran to see
two artlata, rivals in the saaw pursuit, render justice
lo eadl ether's talents. Still more uncommon is it to find
I in the bonds of sincere and long-continued
We might almost venture to say. that with
ICSoeet (b personal attachment, they were the Fylades
An<i On-stes of musical history.

\\ e sliiill name the o^fcra of Ji'uue }fniri, rudy lo
notice the overture, which is still, and in ]irvil>aljdity
will ever conliuuc to be, admired as a poem, preseniing
a living picture of the chase. Indeed, in this instance,
Mehoi iaitaled the eaaaifle of Glock, aod Bade his

overture the real preface to the work. Of the
character are the overtures to Adrim and Ariodant,

The latler opera did not obtain all the success whidi
the oQBposar was led to expeet. This was in a giaat
measure owhiff le the sid>jeet bdnc the sane as tbat «(
JTmUmm tt S^fliamie, a pieoa fUTof sirikiac silaaliom,
whidi were strengthened and eadieillshed bj the beairiifiil
music of Berton *.

Several journalists of this period dccted themselves
into judges of music, without the sligblest (Qualification, —
a practice often since imitated, both in I'aris and London,
— aniurig w li im >*as llif well-known GeofTroy, w tio asserted
that the 1^ re of Mehul had chonis t<K» stubborn to be sw ept
by a light and gratx'ful hand. The mnsician had recourse
to a .stratagem of the most elfectunl kind lor rel'uliiig the
asicrtiun. lie composed an opera (milled hiiti), and
gave out that it was a parody on an Italian piece. The
secret was well kept, and tne jeenalist wuii heard to
exclaim ; '* Ah ! this is the way in which Mehul should
write." \N'hcn the success of the work was decided, the
composer took a favourable eocasiou of avowing himself
the aolbort. The Opera, Fetfe. which be produced
shortly aller, was a ooafliraiinf proof of the power and
versatility of his talents, and • aoaroe of naw ■sni l ica lh ai
to his enemies, who had DO Other r esenre o than to vent
their spleen in impotent satire.

liut at ibis [u riii.l ul liis ji)c>i< nl career. Mehul fell into
important errors, which, lor a time, had a very unpropi-
tiuii.s influence over his style and musical character, lii
faithfully following the Tuolsteps uf Uluck, he had reached
the limits of his art ; liiil lo- exceeded them, the moment
he persuaded himself that he had not done all that he
could, aiid that tliere yet remained new paths for him to
try. We shall sec how his ^lury became obscured in the
second epoch of his musical life.

The opera of UtheU, produced in 18<M. was a singuUr
attempt to start out of the benlon tiadt, nd uticmpt
something if not laudable, at least now. He conceived the
idea of suppressing the violiao, ermon properljr i^ieaUnc,
of banishing theat froB his orchestra, and suMilying their
place by the violas. A feature which might have bosn
ihnnghi iM auiif'ul in a single air, became a deformitj
wlien forced into e\ery piece in the opera. Grflry, who
w.'is pri'^rnt .'It ific firsl rc prcst'ntation of this heavy and
nirl.iiu hi>l\ music, exclttimed to one of his ueighbuurs;

1 s\:aAd ^l^c a luuislf leouUbnthoaracrickaldiiimf

at ihis niouieut."

Jn Ul/ial, Mehul had dashed into the false path,
whidi he continued to pursue in his Joanna, Hiii ue. Les
Amaxones, and Gabrielk d tls'riei, wherein we grieve to
behold a man of genius burying his fine talent tor music
of the genuine dramatic kind, under a leemed mass of
counterpoint and laborions oootrivance. It was then tbat
he ket sight of Ibe important truth. An «i celsre artem :
for science fai to diaawtie music what anatnnjr is lo
painting; wo most be intimately aoquainted with it, bat
should never sufliBr it to appear as the priacipaL

• AiKMlanl h«», howcvrr, iu Wutiri, nod aiuii:i„- u Im i^
Hi lighlful romance, Femme tentibtr,etUeniii-lute ramag,-. Ttieie
nr. iwo olInT rumancei by Mrliul, wliich are »iing llirou^iout
ihc ubolc of Euroiw; Je encore Jam ma» printems, and A
peine am tmrtir d* ren/ante. Tkmm ihtM Mwanees bora, if I nn
M exprcH it, • bmiW air; bat the moM aimflo sad espnsrtve ft

ccflainl) that of .<ri'»/'i»i(.

t Gttlrj UM-a to M) 'jf llif Opera of hM, "U IS ItaOiB nOMf
with Fluieh wof da, aiid a Gcnnan bMs."

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Mebal wai offcrcd th« appointment of mailrr de eha-
oetle to Napoleon, on lhf» ficalh of tlif ;;rpat Pnisifllo.
The Emperor, who hnd nirradj settled upon him a
pension of two thousand franos, s^-nt Duroc, grand
marcfichal of the palace, lo inform him, that it was his
intention to place him at the head of his inuNic. Ever
alive to the interesti of his friend Cherubini, 31ehnl
requested that he might be permitted to share this office
with his brother oompoier. Napoleon, insteail of noticing
this generous wish in the way that right feeling would
bave diettled, was indignant at wiwt 1m haughtily con-
abed lo be a libertv taken with hiai, aaid, in hia osual
han^ mduct; Whet 1 want, ii a maiirt de du^fk wiio
irfU aaka muht ad bM aotaei" and insunily noaiiiialed
• Ike mO-kwnro anlMr «f Im Bardes *.

HVe are iioir arrived at Mebid'k tbiid epoch, when by
the production of bis JosfjA, in ISI0, he shewed that he

had relumed to the true principles of the dramatic school
of nm'.ic, find stanipi'il fur cmt lii'-. fanii' as a composer.

The -Nl<iry i)f J(.m-|iIi jireseiitcd on ample field for the
display of iiis [lowers in the serious, the lender, and the
pathetic. .Anxious, as it would appear, lo repair the
errors he had committed, and regain by one splendid
triumph all the advantaces he hiul lost, the roinposer
snmiBoiied all his enei|pea to his aid, and eltectively
arailed himself of the means which his subject aflbrded
him. The success of his Jotepk amply recompensed
Mehttl fur all the mortillcatioBi be bad experieaced, in
iMkiag m naiiy ftaitk M atteanla to Nfam tbe hfour
flftbefaUlet.

The open of £o Jairtttt one JbmiwftSt piuduved is
1817. with Tery eoanderaUe aaceeai, was tbe piece in
wtdeb be bade adiea to tbe fbeatie and the public, and
the same year was alao detdaad to «itaeai tbe tena of

his earthly labours.

He was advised, hut (oo late, lf> ^r) to the south of
I'rance fur the benefit of his health. This jnurnev,
however, did hut ag;i;ravate his sufTerings ; itnd In-,
therefore, hastenetl to rejoin his pupils and his friends,
that he might at least have the ronsolalion of dying
in their arms. This took place on the isth of Oetoher,
1817, in his 63rd year. As Mehnl had no children,
be adopted bis nephew M. Danssoigne as the heir of
bu talent as well as of bis fortune ; to him also be
tiMuaulted tbe faifalnable legaey of the Irne tradition
ef tbe works «r Gfaidk. It is U. DaanqigBa who ander-
todtlbata*«rniitiHafaiibla> handtothe seora of
Fatmlhu dt Muun^ wUeb Mebal bad left mflnbibed.
This opera was produced in 1S22, and obtained a very
decided success ; since which it has made its way into
Germany, where it continues f i \»- ri favi-mrite. n . urll .ns
Josiyh and hi Folir. This may tic re^iirdcd no iiioaii
honia::r' riMulered lo the cfimpnvrrV InlrnS,

In the latler works of Mi hul, a n^nrk' il iitlrnlioii to the
recitative is observahle ; indeed, he toiik tlir necenls of
nature as hi.n lyj>c. He was a great admirer of Tulma
and Mile. Mars, and was assiduous in his visits lo tbe
Thfitre Franfou, in order to catch the inflexiona of their
voices. Thisredtative may be considered as a aoifallalMl
dedamatioBt nstaiaed bj a bannonj which serves as a
noble eoaMMfitary«

* Chcnibini had raiber sharfilv replied taeaobirnnitioii madr

! > Iiiiii In NapoU'un, at \ i<-nn» ; which ibf military tyrant never

t Tliv very popular and br«ulilul RomaiKC in Jattpk, waa

bed ia ite reeMMMh Mwafawef tiM ITarMnfeM.

.A.Tnon^ the manuscript works which this composer left
utifuiii^h( il. the o|)cra of 's- h:i\ \\rru named a-s the
most im|»ortant ; it is sniil lu cnntain ninny pieces of a
grand and expressive character.

.Vdded to ins allaininetits as a musician, Mehul wa.s
also M-ell read in butli aiu iL-nl and modern authors ; he
likcwi.se p)ssessed the talent of literary composition in
a degree far above common writers, and infinitely beyond
the generalitjr of bis nosical brethren. His conversation
was highly aoiaiated,iBtdIeetuaI. aud enlivened by anec-
dote. 1 1 is manners were gentle and unassuming, and
bis morals irreproachable. We hm already seen how
nobly ho knew to rise beyond the petty jealemies that
disgrace his profession, and bow pare aiM dbdalSfesleA
were the frimdabipa whidi be cbe iUb ed.

EaphrotkM et Coradin . , ,
dra et Alonio ....

Stratnoice ..... 17M
Huriitiin-rorlps ....

riiro'.'n.- ft .Ml li^i.irf . . I9i|
Le .Icunr Snee ct le VieuX Fou . , »

Le Pont de LodI .... WW

Le Jeuna Henry . • , . 17M
Ariodant . . . .

IKoo 180O

Adrfea « . .* \ %%

Epicure . . • • • „

L-frato IWI

Unc Folic .... 1808

.Tohnnna . • • . .

Le Tr^sof SappoiA ... ^

rhhal ..•>•»,

Helena . . . . « 1808

L'beurenx malfri lui . > •

Le* deujt AT«u{les de Tslods . . 1808

Le Prince Troebedoar • . 1818

Joseph 1818

La Journ^e aus Aventure* . . Is 17

In 1794', HerninpiMedihe.MiitieortheCharanesofTimolcaah
a Irasfcily b_v J. Clionirr.
In I79fi» Tke Music dt tha ballet of Paris.
In isOOb Tha Mnaie of tha oihbnrtcd Oaasoannicb
In ISIO. That of the giaad haBal of PertCe ct Andromcde.
In 180.1, Two Memolres: the Wrst entitled; •' Rupport tur

It ijranil yrii de Com\'oi 'ition M\tiimh," n'.id at ihc public tilting
Iff llic (';«-:,•? lies IJiMiix .\r1s d<' ilnstltutr: (he second, "Rap-
port siir Its Trnrnux iTrmvlntion i!ri CoiiiyoiiUin mA lb08.

-Mdiul also set to inusic bcvcr;>l pi.i-iu> <>f ("hcnicr, .Vrnaull^
and Pontanca, conpmed on uioii of the Republican FdtSS*
or for the ecTeauMiiei at whirli Nupulcon {irpnicled. Two longs
of awatiihediararter, "Lc cluuit du depart," and "La Victwe
ea cnchaatan^** were Umg popular, and are adaunbla for tha
manner in which tbey intpToa tha ntaglad Mlafi of t
and triumph.

Lastly, the Six Svmphonirm of which menUon has been i
and uhH'h pnoci liow pri.'.uixlK li' li.iil sludisd tlOWMllS oT
Hajdo, au(i caught bin uauni r uiid »pirtt.

ii i

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THE HARM ONIGON.

ANECDOTES OF MOZART,
BT pitniimoK womun,

Ilf oor paper on Mozart's mode of composition we pro-
mised to coinmuiiicatf miiik^ anor<l()tcs concerning his
cxtmordimirv powers of inenuirj , just published bjr his
intimate friend BflchUti. From aBoiig nvcnl we select

the following.

Tlx; firsit we have to mention lias been ciftcn repeated,
so far cs resards llie main fju I, but never «illi llie fol-
lonini; detnilsi, some ol uliitli wert? t:</nitauiiicate<l bv
Mozart bimsolf, and otiiers by bis widow, to I'rederick
RochliU, wlio was for many years known ns the able
Editor of the Leipsic Miuical Gazette, and has latcljr
tAftn to (be norld his ideas upon various interesting
rabieeto cenwetod with the ert. in • work in two
Voliines, entitled, Fir FmauU dtr Temkmutt (B» llie
Friends of Music.)

In the year 1770, when Hoaurt wat in hii I4lh year,
hr tr.iv, llcd with his father to Rome. It wei then that
the liberal and amiable Gan|<anelli filled the pontifical
chair, who having htartl much i t t! ' extraordinary youth
whose fame liad spread over nidst p.irts ut' Europe, invite<l
him to the cjuiriiial palace, wli< re he had the^ honour of
performing privnlely. This wai just before Euster. In
the coursi? nf tin- conversalicin, the pt-rformatites at the
sistine cbapcl were alluded to, particularly the cele-
Iwmted Miserere for two choirs, the masler-piece of Gre-
gprio AUepi, wiiich is always sunc there iu the Holy
neek- Tm youthful Mozart, with all the naivete of
hn age, requested a copy from the pope. Gangaoelli
kindly replied ; If the music were mine, I would with
all my heart gn0J jnor landaUe cariosity: but heinK
the pro|ierty of tlie cbiird, li BOl ftt my di^oeal; and
by an arrangement for which I am not xeniaiKiUe, hu
• or exeomNMwi-

10 teii bis :

been forbidden to be copied, under pain
calimi." — This iinsticccssful attempt did but strengthen
the tlio youth. He obtained permission to attend

Ihe fiiilv rehi'ftrsal which was given of the music. The
attention ^villi which he listened to it wa.s intense: on
quitting the tba|;i.'l he spoke not a single won!, but
hastenc<l home and wrolo dowti llie notes. At the public
perfurmanct? he brought hi-; mnnnsrript, which he kept
carefully conccale<l in hi.s hut, oud faavini; Glled up some
omissions, and corrected a few errors in the inner parts, he
had the satisfaction to know that he posxeKSied a complete
copy of the treasure thu.<i jealously guarded. The next
lime he pla}ed before Ganganelli, be bad the eonrage
is Holiness what be bed Mblemdi md jpfodneed
the amnnteriiit Tbe pope was aU a nMn e m e w t, but re-
plied with a anile; *'The prohibition does not extend
to the memory, and I thiab tbal you may eaetpe tbe
pain of excommunication.'' Thia composition, aAerwaids
nublisbed, from a copy sent as a preeent fjoai Pope Pins
Vl. to the Em|x?ror of Germany, waseaai|iued wllb ibe
manuscript of Mo74trt, and not the dilSHWIOe of A liagle
DQte bf'lvve«n ihem wius discovered t.

TIkiI ihc siili tnii and <lf'vuiit harmony, the gup|>liiatory
atrains, and the awful effect produced by this extraordi-
nar J Miterm% m»i» • deep and iaddiUe iaprenion on

• VoLitLpsgeiaa.
t Par this MMiporiikiB, tovrthstwilb

Uslon of

mm Il4aBORioea, No. XXXV.,

tbft aaaiidft laind of Monrl tboM eM be no doabt;
•ad dbat to Ail cfaNmmsiance we aie indebtod ftr naqjr
of fboie beart>awving passages yASA Mod wiib geau
his eoaqMiltow, is more than probable.

Madame Sdilick, the famous violin-^ayer, wbo waa
a particular friend of Mozart, b<*ing in \ iennn, about the
veur 17sij, soliitiled the c-omposer to write Roniethiug for
ili'jir {oiiit performance at her concert. \N iifi his usual
kiiuhiijs>, hf promised to comply willi her rf fjin sl, and
nccor(lin;;h ( iinijH-scd and arranged, in his mind, the
beautiful and i;rand sonata for the pinno niiii violin, in n
flat minor, with its solemn adagio iniroductioii. lint it
was necessary to reduce this to writing. The destined
(lay approached, and not a note was committed to paper.
Tbe anxiety of Madame Scblick became excessive, and
at length the earnestoeaaof her entreaties was such, that
Uoiart could no longer procrastinate. But his (avourite
aBOiieductive ganM of billiarda came ia Ibe way, and it
was only Ibe very dvening before Ibe coneert, th«t be
sent ber tbe MHuraseript, in order that she aUjbt etndy
it by tbe Ibllowinc afiemooa. ' Hap^ to obtain the
treasure, though va fate, she scarcely qmtted it for a mo-
ment's repise. The crintH'rt commenctKl : the t ovrt ivas
present, and the rooms were crowded witli all the rank
und fashion of Vienna. 1 he Sonata Ik^ijih, the com-
])Osition was beanliful, and the e\r-cisti;iii i 1 the two artists
lierfecl iu ev(T\ n «[X'rt. The auiiii iK i' were all raptures,
and the applauses enthusiastic. But tin rc- was one dis-
tinguished persona|{C iu the room, vUio'ie enjoyment
exce,eded that of ell the other auditor.s, — the j'^mpcmr
Joseph IL, wbo, in Usbm jost over the heads of the
]:crfuracr8, used his opera-glass to look at Mozart,
and perceived that there was nothing npon his music-
desk oat a sheet of white puier I At the conclusion of the
concert, tbe FmperiMf bedkMcd Hozart to his box, and
said to bin hi m hdf-wbiifer S *' So, Mozart, von have
once agliti traitad to dumee Yes, your Majesty ;"
repliedthe composer, with a smile, half of triumph and
half of confusion. Had Mozart — I will not say studied —
but merely played o>er this niusie once with tin- ludv , it
would not nave been so wondf-rful ; but he had llL■^er
even heard the .wtiuta with the violin.

in his concert at Leipsic, three years previously to his
death, he played two concertos, the soft, charnjini; one
in H flat, with the beautiful variations in g fiat minor,—
which was published .shortly after — and the brilliant
and magnificent composition in c, which appearc<l after
bis deau. What was the surprise of those present, when
they saw him place on his desk, instead of his part, a
sheet of paper .scribbled wHb • few notes, being the
lH<^inningsuf someof thepassaves. "Oh," said ha,lipen
^yciug questioned by a friend, Uie "solo parts are samj
lock^ up in my desk at Vienaa. I am obliged to
noge it thus, idr when I am timeUing, peo^e conlrive
some how or other te stool oopies, and pnnt thenk"— If
in his musical travels he had, like other professors, con-
tented himself with always pbiying the same composi-
tions, the wonder would not have been so great, even
it he had thrown asiay iln' brief memoranda which we
have described, lint at every place he visited, be t linse
from anutng bis intiumerable works, that individual pn-ce
which he judged best adapted to his auditory; therefore
the claims which he roatie upon his recollection were
really prodigious. And then, what a difference, as an
exertion of memory, between the playing of Mozurt's
ooBcerhM, and those of other oompoiers ! in tbe latter.

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THE HARMONICON;

the Bolo part moves unconnectedly, the instnitnental
■OCOmpani merits merely affording a little occasional re-
pine—a few breathing times ; — while in ths former, the
flano-forte uart is so interwoven with the OKhcttra, that
It can only oe considerad tbe first among many that
are equally «Men1ki» and aluiott equally prominent.

We shall aeeik ui early opportunity of girins other
iottaneei of the «slcaoidlnary power of aiMnofy ni nwie
compoaen. The nibjeet it curioos, « Aiowhig a light
ott the hislo^ of the httman mind, and shemag tbe
power wUdi it pomawi of eoaoaatraiting itifhaiUwr.

MI7BIC OF THE SIAMESE.

The following curious particulars ore extracted from a
very arousing volume lately publisher!, containing an ac-
COtint of the Mission from the Governor-General of India
to Siam and Cochin China in the years I Siii2-S*.

• * * " It is an invariable and very ancient
cnsloin Rinniig''t the Siamese to prcncrvc a lock of hair on
tbe forehead of their children, which is guarded intact
ntll a certain period of their age, when it is cut with
gretf cereomny. Tbe eeremony is called Kfaon-chook,
and takes plaee at tbe lltb, isth, or l^th year of age,
eoeording to the inclination of the porente. It is a time
of great festivity and shew. The relations and friends
of till' faniily niiikc presents accordiiij; to the extent of
their aViilit y; the priests are fretjuently assembled to say
prayers ; are fed and pR'scnted with new robes of yellow
cloth, that lieing the only colour they arp permitted to
wear. Different bands iif national inu^'u- an- iisscrnblcd,
and the festivities are kept up with unecasiii;; attention
fcr the space of five days. « • * •

" Several of the best bands of mu sic reliered each other
In succession. One of titesc consisted of fenudo peribnners
onl^' i the others of male performers, whose music was oc-
casionally' interspersed with the plaintive notes of a female
voice. Tbedifference of the several bondscondsted chiefly
ia tbe greater or less power, or body of tbe mosic, if I
naj » vxpnn it; the aoftest and most pleating being
that of tbe ftnale band.

" The Siamese are naturally very fond of music, and
even persons of rank think it no disparagement to aci]uirc
• proficiency in the art. Tliis music is for the most jwrt
extremely lively, and more pleasiiit; to the ear of an
Eurfipeim, lliun the «jvrit nf pr itic Ipik v in the more useful
arl.s of civili7.i'<l life wniilii K inl liiin to txjK'ct of sui h a
nation. Wheiiee this profi' n su v lias arisi ii ni«\ be
somewhat diffirnlf to explain, irmrr especially us the
chwacler of their inusic partakes hut litlle of tliiit eccen-
tricity of genius and apparent heaviness of mind and ima-
gination, lor which they are, in other fespect.s. Si>
remarkable. We have no meaoi of aaeertaining what is
of domestic origin, or how mneh tbqr stay be indebte<l
to foreign interconrae for the imnm w ent of their miuuc.
On inowry we were told that tbe principal Imtromenia
wete of wman. Fego. or Chinese origin, and that moch
ef the aHHic bad bean borrowed fram tbe two flnt aKo-
.Jbmed natioaa, pertienlariy firan Pega.

* The MiMiM «» Rian, ind Hmt, tboCspiial oTOMhin Ctiim, in
(1w fmn taSM. Ftom iba Joanal of ike ieia Gsoif* Finlaywa,
~ , with a Mnwir «r Mm Aolhw, br Sr ~
bFJlA

It is somewhat singular that these nations again
consider the Si!ime>,e as superior in musical skill, and
attribute to the latter the invention of the principal in-
struments, as may be seen in Cokmel Sjme^a account of
those cooutries.

" It might be snpposed that the Siamese Imd borrowed
their music from the same source that they have theip
religion, the softness, the playful sweetness and simpIicilT
of ibe foraaer wipmi'fg to harmonize in some degree with
tbe faninane teaelertiie strict morality, and apparent
innocence of tbe latter. The prominent and leadings
character, however, of tbe mnsle, appears to be common
to the Malays, and other inhabitants of the Indian
islands, as w'ell as to the whole of the Indo-Chiacse
iiatidiis.

" Mv frietul Captain Dun;:erfield, himself M adept in
ituisicnl science, n•nlllrk^., Ui '.t tli" nuisic rf the Siamese
differs from that of all harb-miiis tribes, in l)einp played
uiion [ill] a ilifferent key— nii [m] that, if I um!> rsinud
bim right, which characterizes the piiilieiie nnisir (J cerlaiii
Enn^ean nations. There is certainly no harsh or dis-
agreeable sound, no sudden or unexpected transition, no
grating sharpness in their music. Its principal character
u that of being soft, lively, s»ect, and cheerful, to a de-
gree which seemed to us' quite surprising. They have
urived bmnd the point of being pleased with mere sonnd-
— Ibe mnncian aimedat far bifdierTiewa,ibat of interesting
the feelings, awakening thou]pit« or a ac ll i iig the passions..
Accordingly they have their diffmit kinai af nasiei to.
which they have rec urse according aithqr wish lo
duce one or other i.l these effects.

"Their pieces uf t;iii-.Ir am veiy numerous. A per-
former of some iii toni ty, who exhibited before us, .stated
that he knew liin: liiimlrcd and fifty tune.?. Ibis man
brought wiib him two instruments, the one a \und, the
other a stringed instrument. The former, calleil klani,
resembled a flageolet, as well in form as in the tones,
which, however, were fuller, softer, and louder, than those
of that instrument. His manner of blowing on it re-
sembled that of a person nsing the blow-pipe. He was
thus enabled to keep up an nnioterrupted series of notes.

** Tbe other, a more cnriousi as well as more agreeable.
inalmMnt, is called tnk-ki9> Inai its fancied resemblance
to a Naird, though in point of fimn, to roe it appears to
approach nearer to that of a Chinese jmik. It is about-
three feet long, has a hollow body, and three large
soiiiiilin.- Ij 1' s nr. the back, which is of a rounded form.
Jt is (iiii.pnM il lit jiieces oi banl wood, inlaid with uiother-
of-pearl 1 l:re<< strings, one of brass «ire, the others of
silk, Mi|)[>'irleil on small bits (.f wi./C"l, extend from one
end of the ii.stniuient to the otiier, und are tuned by
means of hm;^ lieg.s. The performer pressing bis left
band on the c unls, strikes them at proper dialaaees, with

the rore-fin:;er of llic ri^ht.

" There is another instrument, called khong-nong», the
music ef which is also very pleasant. It consists of a
series of small cymbals of different sues, suspended hatt«-
aootally in a bamboo frune, forming a large segment of
a cirde. It is soaetimee so large, that tbe performer
may sit wiibin Ibe eirde of tbe iastmnwnt, bis back being
then turned to the vacant space.

" The tones of this instrument are very pleasing. It
is usually accompanied by the instrument called ran-nan ;

eTflntbaiK' "

tbiais

I «f wood, about a foot in length.

« 8(0 Rat rtaS* Jnt, Tel. L Hn.

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THE HARMONICON.

and an inch in breadth, placed by the side of pach otlior.
and ilisjKv id sous Inform iin arch, ihe ronvexity of which
is di)u tiwards. Both this and the last-mentioned instru-
ment are tUtroA vith a ligbtpiMB iif mod, or • mall
mallei.

"The tatk were more tedious tlian useful or enter-
taining to enumerate all (he mnsical instniments used hj
the Siamese. They have herein displayed mnch inge-
miljr, and no incainidemUeprolUiieiMj.oomblninx rarious
iaitiiMHiila ■» M t» mdm a very pleasii^ elect. In
CMidasieB, ira mw eCawBi tbat there is a feij remiirk-
aUe dilltermoe between tlie eheficler of Ibeir veeal and
instmmental mnsic, the former being as pUatheaad
lanehdjt as the latter is liTeljr and pl^yniL"

ON THE CHANOBS IN IftTSIC DUUMO

LAST THIRTY YEARS.

[From Ihr h'rmrh.]

It may not be without its advantages to take a short
review of the causes which hare given rise to the variations
that music has nnderi^one witbiu the last thirty yonrs.

Tbe flfst of these eatnet, ki« doiri>lleas, the °Iu> >■ of > a-
neQr, as aafaml to man. All the noouasents of Europe
bwrllw Anwler and impvaw of the age fai which they

; thqr «n all straw testfawaies of the
denre niieb » felt fhr change or the dedre of pro-
dodng souethhig new, which is little leas than a passion
in the heart of man. Music also has felt the action of

the same principle, and experir'Tirrd frequent imitivatious;
bat, towards the close of the last (ctitiiry, a variety of
C0nf'\irrini; circnmstuncr^ prepared a itinrc decisive, and
abovt' all. H mnrc iiudden rcvolutifin, than had ever before
been ox]K-rieiiced in this art. Tfi" • t eieiised empl' ly mpnt
of wind instruments has given an immense imp)rtance to
the orchestra. The unrivalled operas of Mo2art were
prn<lnced, and though for a time conBned to the country
uf tlu ir birth, their fame, and accounts of their newness
of effect, spread ererywhere. . The symphonies of Haydn
then appeared ; they were executed throagbout the whole
of finnpei and lendeied the ear laailiar with the eAet
of dm* Baaist of instmrnental unaie, the dominioii of
wUeh over iht senses is prodigions. The resnlt of this
was, that music of the simple and purely melodioos kind
appeared cold and meagre; the necessity was felt of
givinw more furcc niid fullness to the orchestra, and of
rendering it ini re brillian! ; ilii'^, if judiciously effected,
could not fail of hwlinn; to |H-rl'('etioii. Shortly after, M.
Chcrubini produced his » /efv'.vi, E/itu, M- di- tind I^s
Deux JmrniPs ; in these works were blended all tlie riches
ofinstrumentation, with sweet, majestic, and commanding
melodies; while about the same period, Cimarosa pro-
daeed ia Italy bia Matrintimo Segreto, a woA which is
ia emy respect a master-pieooi whether considered with
refbrence to its style, nelody, or dnunatic ex|)ression>.
Brcnr day the public became atore oipable ol knowing
aad neling the valae of genuine atasie ; thqr now beard

and duly appreciated the mbline woiia of ISmsiIi and
tbe facility and activity of ooonaimication estaUiahed

between jthe different nations off Envpe tj a period of

warfare and rnnqnests, contributed to ennsummate tbe
inusiral re\ nlul inn . \i\ reiideriiii; it getioral.

Perhaps, in respMt to mnsical composition, we are now-
arrived at the perirwl at which we ouohl to stop. Assur-
edly no one will complain that the scores of /.c .Vor:p di
Figaro, of // Matrimomo Segreto, or of Let deux Jmrrncet,
are in any resp<»cf menpiTe ; and yet in these admirable
compositions, none of the beauties of (he dramatic kind
are sacrificed to the orchestra; a melody at once noble
and graceful, and a true expreaaloa of toe words, unite
with the richos of haiaMMny to fimaajeifect whole. Bat

' The Btn

• It Ua •inguUf feci, ihtt
«WHi* Srgrtta, ia ITSS, it wsa
allcraefd* b«i« ks im
aad cnmasd Um wiik

hj ibe MM NmboHmh, who
ia trimjih thiwigk th* sueeii>

ihings were looa carried too far.

of the symphony once established in the lyfic drama,
Italy beheld a man appear, who exaggerated them, whose

numerous and successful works supply- aliment to nil Ihe
theatres of Kurt)pe ; in a word, tbe brilliftnt Rossini, who
has passed the rational limits dT his art, and seduced
nearly all living composers tu become his imitator in ex-
tras ai^utKe, tliough few have prored able to anire at naj

of his beauties.

The life and spirit which breathe throughout his coBI>
|x>Hitions, arc much less remarkable than the extraor*
dinary tact which he possesses of producing effects ; be has
above all sought fur the means of originality in instra-
meotal illusion. HeacSi bis great aaioition has been to
throw into liis ordicatiaa power afsinst which even tha
coldest and moot cakdatinK are net alwa^ woof. A.
mannerism in bis melodies, the freonent fawt of aMkiag
bis personages sing the parts of the iMusoon, the clarionet
&c. ; the perpetoal employment of tbe most noisy in-
struments, the source of continual dramatic contradic-
tions ; tbe abuse of the jjriilixsnno and the aticcmlo ;
and, not to disguise the truth, some most serious trans-
gressions against the laws of harmony, all are pardoned
by an audience, who are burri^^d along by the riipidily
of his manner, da/zled by his brilliancy, and nut allovM-d
time either to breathe or form a calm, collected judgment.

The operas, therefore, of tbe present day, are litde
else than a scries of dramatic symphonies ; tbeir execu-
tion being attended with extreme difficulty, has been the
means ofYorming that prodigious quantity of in.stnmiental
|ierformers. by which Europe is at present filled, and
whose skill and precision are anra essential to the saooeca
of the wtwha of the present day, tban tbe taleott of tba
singer. Compositions trnly vnfioA ara beeomiM daflj
more rare ; the reason of this is not diScalt to d H eofar.
.\s long as melody forms the basis of the art, Tariety may
always be found; for it is then thai the man of genius
derives the means of bis origiimlily from an inexhaustible
source, the true imitation <if nature. The combinations
of harmony bring limited, it is impossible at the end of
a certain term, but that the same forms must be repented,
and the same effects produced. The character i t i!n!
different schools, wiiith was formerly so strongly im-
pressed upon melody, as to cause it at once to be re-
cognised, has entirely disappeared. The music now
composed at Naples, at Berlin, at Paris, has nearly the
«a«^ colouring, since at pRSSHit it is the metbod liiat
constitutes tbe ait, and that aMthod is everywhere tba
same. Never tnM Bodniation man studied than at pia-
seni, and never was so little cffieeied in vegard to aong;
Picres ] tanned and conducted according to a nnity of fahi*
are no longer in fashion ; twenty little motivos, ul difco
ing from each other, are formed into a party-cokMHOi
whole, which is the very enemy to all pae<^ degane^

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THB HABMONICON.

whidi all dependence is place<l in order to clothe the
■knhlim. Ml nd» iU deCsmutjt becouing eshaiuted and
Imag ihnr eflect in pnportioii w ibej an kvisbed with
an unsfMirinK haiid. it boooMM itMy man cUBeoU la

obtain viy thing like decided mutioal goocns.

One or the great evilii or the system now prevalent, ig,
if 1 may bo aUo>vf'<l the expression, to create composers
■gainst nalurr. IleiiCf, «t' hasc iiii'il, who withuiit h
spark of i^L-iiius, lliini!;!i vi ry ^oud niiil industrious j>efi|)li'
in otlier respetl.-i, itnat'it ■■ tljiu i)|)i'ras may be nianufac-
turetl by tho aid of c<iuiiti'rpiiiMl , it is trui--, ih.U lliey
have not one bar of geiuiiiie uulixly in their wliule
Qooalilution, but they flulter ttiem^-elves they can niuke
■p tor every deCcieney by the learned labour of tlieir
MOM. They litudy, they writp, and think thev have
rnBipowMl. Their opera, with all its diiBctdtics and noise,
dragg on only to a third representation, and they ari>
all Bwrlifioatioo and amazement. They were Rossiuis
ia tbeinr own o|»iiiioa, ibr thejr bad Uackaacd their More
villi ai mutj aotct ai emdd M enindad islo It. and had
kept their otdmtnt hard at waili Ibr three hoars inees-
atu&j. Bnl tbey are taiwht tM» nktary lesson, that if
abuKs are pardoned in the author of Tancredi, happily
the same induli^ence is not shown by the public to thc»
cold slriii;;er lngett'.er of notes, ^^ho dciiHliiralizes art
without llio power of iincsliiisr her «ill> aiiNlhiin; new.

But though this new tasle, and \h<: d iniininn o( lushioii,
have hriiiiolil us to the jKiiiit iit whii h tunv are, it is
not III Ik- j>re>ii'n'>il that sliitliiit; uinl ( hati£;ing as lliey
are in their nature, they will loug jieruiii us to remain
stationary. But uliat will hap|x;n ? will new combina-
tions be fomed, to alarm our cars by Bounds still more
■oisy, in ^hich case, as a last resource, we most enlarge
ear already colossal theatres ; or will a return be made
to the liaple and the expressive ? This retrograde move-
■Mnt waa onee made, iBtheiBataaeeaf aPngoleri and
• Tiaeit win cam tore|laeelliekBnHd faanaeoy, which
kad nalataiaed nmdirided aaipfara dnrfi^ the eefeateeBth
centary. It wm then that Italy woold Ititcn to no
other orchestra than two riolins and a bass, and rejected
the treasures of harmony olTered them even by a Jnmelli.
Now, between this period and our own, doubtless the just
medium is to be found : if we make a retroji^ade move-
ment, shall we be wise etK>iii;h ii<it to relropraile loo t.ir
Perhaps a few years more will ditide ihis iinpirtant
questidii : in the mean time, let us enj one eluss of
effi^cLs, on which time and fashion have as yet had no
undue influence, and let us not think the future cause of
the art hopeless, as long as one score of Mourt be fonnd
to exist. Yes, if bat one only be left ns, tiiii type of the
truly beautiful in araMe, like the beaeoD which guides the
wandoing mariner to the haven of aafiBtT, will sooner or
later be toOcient to eondael m hadt to tin right path.

FOREIGN MUSICAL UTQIATURS.

Voi.LaTANDlc;E SlXGSCUULE, Il« TIBK AbTHBIL-

VKOSM, Jkc. Comylck Singing School, ta four
pofU, withanUmnarif ObKniitiotu and Exflanaliimt in
Oenmt mtioHt and Fmuh, bg Pnn von Win

«Uj Aq|g/ ^l^^ljH^ XtfeUm^Ser, ami KmgU tfUte

iv.av. V, s iiinething very gratifjiag in eonteaplaJiiig n
in of established renawn and oaat wnMitlM>i vJm in

the decline «f bla pawars of fancy and invention, devotes
his leisure to parpoces of practical utility. This ia doue
in the work before us, by the celebrated Winter, a com-
poser, who for fall half a oantaiy hai loaped so many iaa>
tela in the lidd of nnuie, and whom Gcm»uy, England,
France, and Italy hall as a favourite ; who has pro-
dttced so many masterpieces in the higher department of
his art, and lefl n still less e(]iiin;rHl proof of his talents
in the many eelebrated inusieiuiis s\Uo elaim liinj a:i their
master. Apraclif al wnrk . n the art i)f singing, from such
a man. cannot, tliercfnre, fail to i>e hailed with ])leasure
l)v all ihiisc wIk) take an interest in Mjiit;. It cannot be
denied that, though in assuming tlie charax ter of an in-
strneior, a full, comprehensive, and fundamentul know-
ledge of the subject be necessary, it is not the only in-
dispensible acquirement. It is requisite to be a mailer
of the art of method izing and arranging, that the ma-
tt rials thus possessed may be devek^ed with clearneH
and preciiiou. It has been freqaenthr lemarked, nor
are the reoMna that eaplafai the t£et dinenlt of dimoToj,
tbat but few arlitta posaen this happgr facility : the jpra*
sent |ierformanoe will be found to be an nndettiaUe
exception.

Tno work has very little text ; the author is very pithy
and concise in the dhservaliuin w hich he has to offer,
lie has restricted himself tu short preliiniiiary oliserva-
liuiis ti) erii'li division of his iMirk, and to slill ■-.'] n-ler
occasional imtos. This leller-presS is, as the tuh- an-
nounces, in the (ierman, Italian, and French lau^n:i:;es,
and is engraved in columns. We shall present the reader
with an extract.

" The most beautiful and toncbinit instrument," naya
the author, " which man has received from the hand of ma
benevolent Maker, ii the voice. ThnHUth words he can
impart life and significatJoB to hii mdomo ; hoeaa call
forth the moit secret feelings of the heart, awaken every
passion Into Kviiig reality, and powerfully vibrate all the
chords of the soul. What joyful sensations cannot tlie
simple song of the shepherdess of the Alps inspire !"
SkC. " If such be the ( UM>. ' miitinues our author, •■ liow
mtvch greater niusl he the etleet pro<lured by a cultivated
singer, if his song bo enlivened by art and a rc;>ul;iled
fancy ; I .say a regidated fancv, ibr liow often do even
e\]> rienced singers, betrayed l>y vunity or alTcclnlion,
overstep the limits marked out by nature. And yet how
much more frequently are the most excellent gifts, ia*
stead of being consecrated to the service of the art, j)er-
verled to a mere mechanical and nnintcUectual means of
making a livelihoud." The author afterwanls begs the
reader not to consider bis book in the light of a literary
production, but aa ap iatradqction to the fimnalion of
the human voiea, fimnded on an enerienea wUch ho
has obtained on the first theatres orEumpe^ and from
the principal singers on the lyric stage.

Tb^ Firil Dit ision of tbe work contains exerri'-cs for
the voice itself, and for intonation; next, nim.iny ijiis-
lagBS from the smaller to the greater iiilertal.s: tlie.se
are not of the bravura kind, but merely exercises oti
tilt- more (lirtirnll internals. The author has \, ricen
them for one, then ftir more, and principally for three
voices; but for such as, with n-specl to compass, are
equal; fur instance, three so pranus, because it is well
known, that many singers who can produce suuiuls very
well iu tune when performing alone, find aome difficulty
in tbe ialvwlioa wlian sinpng in thiida, MSthi^ Ike. with

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-8

THE HA&MONICON.

Ike Second Diviiion teaches how to thic tha Inter-
vals wilh fortamnti. Then follow aboot HtMj mlM,iii
wUdidw Intitjtion ftom one toM to aimdier b ghai with
•II ofBMMBtal additioii. Mftiiy of these exercises will
pe nond rather Vn'mz to the singfr, who has mas-

riT Otan in the first part : hut if he p<'rs( vf^rr, he
*nl vet nil to derive (he ereateit advantnge fmin tln'm,
for thcjf are .ultuirable, fnfi of m^liwlv. am! verv pleasing.
Several, abstractedly considcre<l frimi Un'ir rral object,
are charmin'; little moiivo';, shnrt worked-up themes,
■which will be sun: liy their merit ftnd henutv to rom-
Jiens.'ili- ihe pains taken by ttie Icurncr. ft is qnito
evi<li;iit thnl im one but a jx-rfect master of his art conld
have prorjiicfl I hem.

The I'hiril IJicision contains the greater Solfeppios,
and aims a( giring a just idea of exprei^oa. Hence
the^- are Taried in iheir character, ami so arranged by
the cooiposer as to proceed from the soft and gentle to
the strong and impaiisioiied. In thi8|nit, the hand of
the master appears more conspiemos than In any other;
tor tbeM SoiWiot an not odi/well adapted to their
drjed, but aivni tbemiabea attractive and instmctirc
pieees of music. They may with justice be ranked by
th« aide of those of Righini, written for the .voprnuo,
and bass, and which critics {renernlly reornrd as the best
of all existing models of the kiml. " These are followed
by examples of what was formerly called in lim ks of
musical instnictinn, florid, that is. unmmeiital sung ;
f<ir e\uinj>k', passa;;es of the nppof;:;iatura, turn, sliak.',
and other kinds of graces. It cannot be denied, that
in order to do justice to this part of the work, serious
difficulties will be encountered ; and in more than one

page, we can well imagine the pupil ready to cloae
the book with a despoiMfing sigh, not this argues no
blemish in the work itself, and the disciple of the art
vho is truly cmuloaa of ansdlenoei will not be discou-
vaged by apparent JMtoJUa^ bat do Ua bait and iier-
-aevere to the end, certain thiift Ut eftrto will wltiiatfly
be crowned with success.

The Fourth Diinion consists of a [;reaf variety of
running passage.*;, cadences, oniamcnts, and embelli.sli-
menls of every kind, which are followetl by a number of
suhiects with variation.s, wherein all the decorations are
enijilnvi d, and carried to the utmost of which they arc
capable. These will nliurd the means not only of f;rati-
Aingthe fine, or rather call it suiy i-dxif, ta.ste of our
day, but of contributing to give a greater facility and
llezjUlity to the vocal organ. In this respect, the author
goes far, veir far indeed- Rossini him.>;e!f has not ex-
acted so much flmn the singer i even Catalan!, in (heda^s
bar prime, never succeeded in producing all tha varieties
of oraaaent Mid npU gracing whidi are here seen dis-
sected. Fofneily, airs were written for the singers in
the most sinjle form; tbey were, properly spiking,
mere sketches, which were to be filled up by the judg-
ment and good taste of the artist ; for at this period
performers were fully as well inslnicle<l, and hs Innda-
nientally artists, ils the roni]i<iser>i llu insehes. Hut the
case is alliTfil ; ilii' sin^i'.-s df ni i^t nf the theatres
of Eurojjc are now nKT> l\ ele\er pructi tinners, men of
mechanical and limiti il tnlenls ; iherefnre it is neces-
sary to do that tor them, which was fonnerly left to their
arn judgment and discretion.

It is singular, that throvghont the whole of the work,
no notice is taJten of church singers; hut to say the
truth, in aa fi» as tbey form • pecnliar and distinct

ceased to exist for this half-century past,
bare particularly distinpished iliemseives in
this line, have merely modified and subdued their opera
manlier nf singing, according to plact; and circumstance ;
just in the same manner, indeed, as the graater part of
the church ( '<ni|H>ser> uf the day have sJlandtbeiraMiS
coniixjsi lions according to situation.

This outline will he sufficient to give the reader an
idea of the value of the work before us, the result of the
kiiowled;:.e and exp^^iencaaf • great artist, who has eri-
ilently devoted himself eon amore to his task. To enter
into a minute examination of its parts, or to give examples,
exceeds our limits ; bat, perhaps, an occasion i

of publishing some of tbe more pleasing and cbar

of the airs, which, as we before observed, even when <

sidered independently of the object they are destined to
fulfil, abound in beaoty and expression, and show the
vigour nf Winter's mind, at the very dose of his life :
far be aunifed tbe poblkatfoa of thia wwk but • few

STATE OF MUSIC IN TIBNNA. IN im.

I'iftma, \or. 10.

• •••«••« •

\s our musical season, ns w ell as tlie year, i.s drawing
to n close, it may not be ill-timed to ^iveyou a sketch of
the annual musical history of this capital. It is .scarcely
necessary to premise, that the author of // Barbicre and
Tancredi has rcignerl the great idol of our Italian
theatre. Yet while the multitude are hurried away by
the eclat of his music, and daadad by the glitter of hu
style, there are, thank heaven, some lovers of genuine
mdody, simptidly and truth, who cease not to raisn
their voices against the abuses irhich this composer bat
introduced. Eel us net, Iwwever, be supposed to be-
long to that class of rigortsts, who would deprive him
of his jnst meed of praise, and deny him that merit to
w hich much of his music entitles him. Ample means have
been here afforded us lor ('orini?i;; an opinion uf Knssini'g
productions, for from the I! ir'^n rr to // Cuo in I'ah hini,!,
we have heard nearly llie wlicde of his ojera.s in suc-
eessimi, nr.d we ir,iis( lit- allu"ei| Xn .uiij, ] < rliirnie<l in a
manner not nnvsurliiv uf (he Ihiui' tlus iimster has uc-
(juirtd. A\ (• would criin|mr<' these operas t<] a long
family of sisters, in which the likeness uf the parentis,
perhaps, too sinii;i;ly and (ikj Iretpieiitly repeated, and
vet ill each member of the family, there nrw some
distinct beauties to claim our interest and admiration.
Sufficient OHMntunities have also been afibrded us of
forming a WM ana n t of the moat ooospicnous aasoog tbe
imltatora «if tMs iadtatarn— of aPadni, a UenadaBte,*

Garaft, Ike. Thenr vrarks, mrtienlafly those of tbe lat-
ter, shew a few scattered beauties ; but the impression
tliey nsoally make, is that produced by second-hand,
faded finery.

On our Gentian lyric singe, the selection of perfor«
niances has bc'cii of a more varied and valuable kind,
firminf; a striking c<intrast to the lii;ht and (limsy pro-
diK ii.ins ol the ma.slers we last mentionefi. Hr ules
i1j<jsc works of the imiuorlnl Mozart, which are con-
stantly before the public, his Serail has been revived,
and performed with ^rcat spirit and correctness. And
the dramatic compositions of that glury of our age,
B ee t hwsn , have not been nsgkcled, Aid to tbeae^ Iw

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THE HARMONIOOK

nasterly and td^ml imdnetiottg of tlie modem fMl
cf dw (VMt muieal worthies of Germany, H. wn
Weber, we do not fear to assert, that no at^ bas
tee MKMnle jnatioe to Ua pndnctions than our aim.
BM «• bai« liil] to g» «B» ani emmente t bote naater] j
)iodadiaH«r %an&i, IMt TtilaktmiPerdinaml Cor*
Ut; CiMMraia'a ebandng McMnmin Sneret*; tbon
demal morements of the genius of Glock, Ipkigenia,
Medea, and Armando; the masterpieces of the senti-
mental Paer, Sargine, and Aijnc3» ; tne Joseph of Mehul,
Der Toucher of Krenlzer, Die Sckmitter'famHie of
Wcml:], the Fauft and Z^iire ef the cqjfaiiife SfNthr,
ami lii.stly La AVi/^fof Auber.

In t be royal chapel, we heard, with more than cniii-
inon interest, the exequies of the well-kiiowu Salicri
performed. On this mournful occasion was introduced,
acooiding to a clause in the will of the deceased, his
poalbamous work, a Mum pro defunctis. It was found to
p a iieaa all the vigour and truth of expression which mark
thia ooBDoaaf^a secular productions. If dalaelm in anj
l e y at i It vaa fai tboaa parlicnlar fainla whU, in a
great nennro, oonstitnle the pecaltair vdne «f dntrch
music ; namely, counterpoint, and the enei^tic and well-
worked fu^ue, which here find themselves in their proper
sphere. Criticism, however, should bo almost silent
on such nn occasion, and yield to dee|)er feelings, of
. leverence for the artist, and respect for the man.

Our numerous iiistnimental concerts have long borne
the palm from tliose of any otlicr city in Europe. an<l
those of the past year have lieeu particularly rich in in-
terest. Besides all the standard works of the neat
masters, the amateurs of our city Imto been gratUiea by
a variety of new compositioofl by SeyftM, Bargt,
Srentnr, Spontiui, and opobr.

The Academy 6[ Mnms ii in ft flonrisbing state, and
haa abaady pndnead itfwal pmib of genius; tbeir
pwaf mniber amemls to ITS efootb Mxea. Tbe mu-
aienl aidnves contain upwards of C400 practical works,
either presented by the authors, or the donations of rich
flinatc-iirs. The lihrarv is rnrit !ip:1 bv upwards of 7nn
works, of ft theoretical, liisinrirfil, a'.sliietic, physical and
mathematical kind, among ^shich is the ctitire %nhmble
library of (be late (Jerber, ifie well Likavu aullior of
the li.jimry i 1 Musicians. A >uni is set a()arl f(jr
procuring periodical publications njf m music, and others
connected with the art. The establishment also con-
tains a musical museum, which has a valuable col-
lection of ancieni iarttamciits, &c., illustraliTe of the
cariy slate and progress of the art, together with *
csvieva assemblage of portraits of cdebrated compo-
•enaadiiTitena|mi ausie, Tbe collection ef aHidera
ia i ti Bas a n t s. fir Ine ptnethie of the pupils, is rich and
extensive, end many amcmg them bear the names of
tenaef the gtreatest musicians of the day, as donors and
eon tribll tors to this grand national Institution.

In Choral music, ami cnncerts of a spiritual kind, we
liftVf been no IchS Linispiuu. jus tlum in onr MH iiliir [ht-
formances. Indi'piMiilonlly r.^C tlu' j;rciil cnmixisitinns of
thesacr(!(l kind, iisiifi11\ pi.-rt'iTnifil nn ixxasions like these,
some new pieces of no common merit have been civen to
the world, among which should be noticed a Gloria by
Gansbacher, a Credo by tbe Abb4 Vogler, and a t^rand
teass and Offertcrio, with dod^ chorus, by Winter.
Tbe latter compositisa CKBtcd a gitat as u sa t io n , being
tbe last prodnefiantf fUifleWbntodiMB.

The lovers of «MiBBlniiio h«vaali»bad tWr Ma
Vol. IV.

Mailed. CbBBMltor Keisewetter, a true friend of tta
art, and an Indefatigable cf>lleotor of its treasures, gave A
series of musical smiecf, which were exclusively devoted
to the urodactieBS of tbe early schools, particularly llieas
of Italy. Tbe'eiiciaofamaleurs who assembled on Iheaa
occasions was necefliariljr aoall i bat tUa choieB ftnr
were happy to get nnae eeaBpeniafleii Ar Aa ftivalonr

Sirit 01 tbe present moment, in the classical productions
the superior minds of other days. Of tbe composi-
tions selected for p<?rfoniiaiiee, the greater profwrtion of
which were tliose of the church, some were purely vocal;
others had instrunv;iital a'companiments. These com-
positions were cbused, as nearly as possible, according to
their dates and respective character. Among a great
number were the following : From Falestrina, a Magni-
ficat, and various moletts; from Alleerii tbeilfM«rere,and
a selection of motetts in sax nails ; nom Leo, also a jifi-
icrere, a Dixit Dominus, in e^bt parts, and diffisrent mo-
tetts; from Dnranti, OMoriMm Jemtim Pnplula, m
Utany and MagtMHui tnm Piorpon, SmUa ^lim, a
Cantata, and the Sealui Fhrs finn lIaiM,« Jf»<
serere, and a Regina Cali ; from CaMara, two omtoHos,
L<i Morle e Sepullura ill Gesu Crislo, and La Pas^ione di
Gi'su Criflo, a Tc Dettm. a Salve Regina, a Latida Sion, a
Slafiat M'tift , and varinns motetts ; from Jomelli, a grand
mass, ai!<l tbe H_Mnn I'ictimee Pascali, a sei l oci ; from
Lotti, a Ui'ri 1, and a selection of madrigals, and psalms :
the same from Marenzio ami Scarlatti ; from Sarti, a
Miserere and a Ayrie, forming a splendid fugue; froih
Pcrgolesi, a Salve Regina, Laudale pucri, and a Miserere.
To these may be added, a Selection of Psalms from Be-
nevoli; ai^rieand (j/ort a from Sebastian Bach; various
I>salms of daifaro ; also a selection of psalms and motetts
of Biffi ; a Miterere with double dwnsses from Bai ; «
Requiem by Michael Haydn ; a select ion ef jpaalms mm.
Marcello, and Us eelebmted Canlala af nsiafan. lb
crown this list, and to conclude, I have to add Handd^
Te Deum for the peace of Utrecht.

ON THE CH.ARACTER AXO QrALIFirATIOXS OP
A CERTAIN INSTRUCTOR OF YOL'TH,

/.V A utTTtR TO an mueM nn daemmm or n»jr. wa

TcfurtufU ibcli ia Tiak."— Sir W. Tiaru.

My Lono,

I would not upon slight grounds venture to obfmda

mvsf If on your Grace's attention, or place your venerated
niinu' 111 liie head of a communication having the expo-
sure; ot sice for its only object. But. I iim abuut to
ilru« voiir attention to a subject intinuil^ ly cunnectetl
wilb rcli^;ion, with murals, and with public J. c oney, and
am c (>n\iMced that a brief disclosure of in> sul)ject will
justify the selection I have made from a list nf noble and
illustrious personages, to any one of whom 1 mieht with
propriety have addressed myself. I may, pos.<ubly for a
moment, disturb your Grace's tranquillity by shewing the
extent to which your benevolent intentions have beeu
abused, but 1 led assured that mj motives will ultt-

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THE HABMONICON.

xaateiv be ap fH eth t rf , Mi ngr«fliilsimnid«dtuyanr

approbnlion.

YouT (ir;uo lins been jilenspd to Fionour hy jour

Klronage, ami support by jour powerful influence, the
)yal Academy of Music, — an iuslitution havinir for itt
object, not only the professional instruction of young
penonii of both sexes, but iieceanrily and professedly
inbnenig alio Ibe moral aod reli^oiu education of its
jmnile stodeate>-oii imtttntion which undertalies to
vftafaiap^a&Min Ibemqr b* dwdd gn^' ibroogh
ifker-1ii^w«Cbrislnii,ndw ft toeiety:—
And, as a gomnteo tm the due fuHilment of these duties,
to important to the indiTiduals, and so inftnential on the
morals and happiness i f wu-ifty, tlic liij;(i nume and
reputation of the socoml iligiuUrj of the cliurcli uf Eng-
land litands pltMlpcd.

It is not nwcssary for mc to dwell on (he disputed
question:, of the neccss>ily for this institution — of the
sufficiency of its means for professional education — of the
probability of its realiiin^ the hopes of parent.s in pro-
moting the -welfaro cf their chihlren, or of the cfl'ucis
likely to be produced bv audi a mode of iui^truction,— all
wbich qnettions have been discussed by far abler pem
thm niaot and still await tbe opetatioo of tlmo lot
confirmatory evidsno** It il ■rtBrimt kitWKf present
purpose to know, Ait IMfa an flHtitatiHI dm oist, and
that it is patronised by our sracioni B owri ga, as well
as bv a brilliant list of royu, noble, and ouardistin-
guislied pcTM iiiturs. nmong whom the lUUMOf JoarGnoe
stands \sit!j peculiar pre-eminence.

Tlie pHstoral care of the second head of our established
churc h IS so strikingly displayed in the code of regulations
draw n up for the government of this Inbliliition, that I
cannot itithhold the insertion of a short extract therefrom,
as demonstratire of the intentions by which your Grace
tras actoftted, wbeo yov bestowed npon it tbe invaluable
kooB of your coMatenaiMe and npport.

" Art. I The firit object in tha cdoMliMief tit MedcBta

" will cui)vL»t in .1 ttrirt attenlim to their retigiouM and moral
"ini true lion.

" II.' A tit nrran^mt-nt nhM he made at the CHieninr of the
" Aradrmy fur t)ie /irrformaticf of dieine tfummff anu for the
"proper attcndEkiirc tl)(>rp<in of the pupils*.

How far these regulations have been acted upon, and
nbat collateral aid uey have derived from the c-liaracter
of at least one of tbe persons appointed to
, and silica Mrfbred to loflnence, the whole
cstaUishDMnt, are qneidom now strongly agitate
a lar<;e proportion of tbe musical world, because cir-
cumsinnces of a most unblushing character have re-
cently drJi«ii public attptilion to the subject, — and thi.*
is the (incaidu la >vlii<h I have undertaken, however
imperfecilv, ti> Jr.i" tlic serious attentinii nf your Grace.

Should the answer be such as a l.irge and indignant
portion of the public is at present preparcil to furnish, 1
fear that jour grace, in common wiih many other bene-
tolent nooleinen and Keutlemen, will stand in the un-
pleasant dilemma of naving permitted your name to
aoBtinoe as a patron to an establishment which bas dis-
ftguded in pradioe tbe wise and becoming principles
OB wbkh It Via fbonded. That the Committee of Ha-
nageaDent ni^ banw ban daca it ed, ia a Ihet vhidii on
aecoant of tha Mdea b Ud la g w d aW Ufa r of the fadhi-
d«da, trin ba mm laad^j MBavad than oreriooked ;

that intrigue and chicaner)' have becti cnn^lfkiitl v nl work
to avert attention from a system thai will not bfur ihe
eye of scrutinj*, is pretty generally understood ; but liiat
the institution should suffer in the public estimation, on
account of an evil that admits of a ready cure, is a point
for which, I pratHBW, ao oaa will cntand ' aad that it
does so suAr, I can aaam jaar Gmobt and irUl ate
state on what gronnds.

It is said, that a man who baa been allowad to laala»
himself upoB tbo institutioa, la BO fMatr dtftwadl
in principle and in habit, that tbere ia aearoahr a eriMe^
from common swindling to capital felony, of waicii haiw
not for years been in the constant practice. It ia said,
that in this Academy, to >sliich children are sent from
the arms of their jxirents, in the full belief that the
" first object provided for is their religious and moral
instruction," such children are confided to the super-
intendence (jt a man of the vilest stamp — a notorious,
a sonvicled, a triple-turned felon ! — It is said, that the
boys are exposed to the influence of a foreign convict, who
haR violated the criminal laws of our own countnr, as
well as those of his native land, and who having hitherto

enued the fate of tbe fidoo, obtains hia daily bread, bj
•hnilnf and swfaidliBKl And tt ii alaa ■aid,that tba

females are placed within tha fSach af <

from a profligate bigamist, the felon
cnsl-ofT noniaii !

1 dtcliirt- lu yimr Grac< , tliat such things are openly,
commonly, loudly proclaimed, and must, of course, be
eithor Iru'- or falsp. If false, they admit of ready con-
tr.'i(lj(_li' iii ; [jlit .so i!eeply is llio bi'liet' impri'ssL'xl uimjii the
public mind, that nothing short of an nulliorizi:(l i\ii<l un-
equivocal contradiction, from an oflici-il aid crriUhle
source, will remove the conviction of their truth. For-
mer opportunities of denial have, unfortunately for
Ibe fame of the institution, been suffered to pass un*
headed, for I have before me an ardent appeal to tbe
conwct sense of tbe Committee of Ifanageiaent, anon the
same point, in an able paper on tbe infimt inautatfoik
which appeaaad ao laag back as Jannn^, Itu, and
which, to the beat of my hnowledge, resaania nnanawer*
ed. The writer of that paper says —

" We » not .^uote Scnri a to jirovc the mpcriority of example
over prci fpt, In.-. \i c nfui]! take tlip lilirrly to ask the coniinittee,
wliptlirr or n,.| n [ii rsoii lias Ik pn noinin.ttnl to an iiiHoiTii-ing
Wl'iiiiinii in ihf lu-.iilciiiv. tlir i-vatii|>lp of whose life is — if 1h> be
couiilcriiuiccd — -uthrirut (o ronJrr nuifiitory the muct piuut aod
enlirbtcned proi i>pt<, that in:i}' t>e drhvered to the pap^?

"Here we iiiuni piuite ; and kluiU conclude oar remarks by
addrestioe ounelrea to tke bosons of tlMae illuitrioot anddi^
tlnruisbed perMmaget whole mom eppcar as patroni. direcfain,
and vkHors of this ettabHakneot ;— to tboae gentlemen of the
cosMlttec, whose ctwractera stand lo unnpotted, so Ugh in socie-
ty; — to all, indeed, who love virtue nnd h.itc rice ; and, with the
utmost deference ami retpect, wcasktlicui. whetlier the appoint-
nirtit to an {mportant a«'l rrxpOfuiMf ofice in Ihtr estaUuhmeut
<>!' .'\ man, who has abiirundciJ froin hia native land to escape the ^
disgraceful sentrnrp which the ulTcndcd law* nnd tlic jnift* of
his countrj i r Tiiiiitu 1 11 u]iii:i him— whether the adtnission of
luch a man witliin the n.ills if a hoiiM? devoted lo the education \
of youth of both >f xps, w.iuiil not ttrungle the infant inttitntion
in its birth, rxpuse the wlioh- luanageraent to general and '
merilc.l n ; r. li-ition. ;\n.l ili-<race » COlllJtrjr wWch hoUs SO
exalted a riink in live opinion of turrounding natioBS, for Ha
support of all that Is haaoanUa^ ladlir its detrntatignef what*
ever is flagitious ?**

Having rendered what, I trast, will bo considered an
aoe^laUe aetvtee to jonr Giacet to the acadeny, to the

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THE HARMONICOK.

mA Aiir ■—111 HMi to tbe paUie at Urge, in
mt mmOm to (hia fcw^nM evil, I shall
• fnr MoiewNdsM ths nbitet at fivient.
It would be pretamptiM in ai* fa Mtot Ml to ymu
Grace's intelligent mmi Iba ant ««ian AkI am iaafi-
tall' , Oi uM It be found that the public belief is well
foundeJ, aiul ibat the influence of such a man still re-
mains- 1 will not, tberefon-, dilate upon tlie probaljle
conduct and fate of younp men whu iniirht be sent fijrth
int<i the world from the hands nf a;lL|)t m t\w various
tricks of swindling, and un e\|HTii-iiced practitioner of
tllB arts of forgery. Nor riceil I dwell n[Kin the pro-
I of the jroung female who shunid ground her pre-
tobe admitted as a domestic instructor, on her
onder a master that had detierted an ill-
qwill and Tirtooos wife, and scaadalondy insulted our sa-
cral faulitations, by pretending to nnmr, in defiaaee of
h.w md deeency, one of the honiBes or Ihe fflthy annals
«f the Roval Arcade.

But, allow me, my I^rd.lo sngKest, that the confidence
of the public in your jiidt^inf'iit mid upriiilifm -.s, nml the
wrongs inflicted on r('>pc<:tat)le pnil'esMirs by ilie dis-
graceful preference giM-n to a furcii^n protlij^ate, are well
worthy of a serious efl'urt on your part to justify the one
and remoTe the other. Should it appear ou inciuiry that
foblic opinion is in error, its correction by such a high
aathority as your Grace, would be received with pleasure;

with gratitude, and by none more so than myself,
Tho, as a parent, desiring the professional education of
My diildien, would be too happj in fnding that my
ftwaiito object might be aoooaq^idied withoat exposing
mj tudfy to tha jnthnaM af vioa aad criM. Ait,
tfaonM tbe «oatfarir ba tba caae ahonM It ba fiNud
that the conTict-fefon does lurk within the walls of the
academy — ^the cause of the institution, the cause of its
abused patrons, the <aiiise of religion and jHiblic decency,
cannot certainly be in l>etter band:, than those of an
I'laglish primate, who will nril, who cainiut, at one at.d
tlic same moment, preach and practise the highest virtues,
and suffer his name and d%ni^ to ha aaad at ndoak to
<helt«r the grossest vices.

I Imtre the honour to be,

Y«ar Graoa'a mrj hanUe Semnt,

DavBOfOft*.

BURMESE MUSICAL INSTRUMENTS.

The present war with the Birman^, whatever may have
been its pii\]< \ , and liowever it may tenninat'-, has uil li d
largely to the information concerning their empire, fur-
nisDM bv Col. bymes in his acconat of nn cmbasNy to
the kniilom of Ava. Thaaa wIm kt •ifaniaed bodies,
and iriSi ansa blheir hands, Tirit Ani^

• We nqueat oar cortnpMtieiit, DarsoToa, U esms th* wp
piession of Kveial pum^» in hi» pr><»€-nt rommHniration, «» well
•( in the leller printfld in our laii nunit>i r We f illv ngitx with
bim in •cntinmt, and congmtulaie the munlcil nt rltl on »iH-infr
their cauw is Uw hand* of ■ writer, dolenaiDccI m .-^^ n^,. liw^dis-
fiuefbl lolaratioa gtanted to an impodrat malordciut; l>ul we
eamot, «««a fet th* yarpoan aifao dannbln an espoaara, ivntuie
to gi*« the leTokrag ilMaila of critne, in a woik aqioyinf , aa ika
IlAaMoicoN dors, cxirnsivi- circulation indomntic MMStely. We
truit, hotvrvrr. tkit riiir I' i i:rL> j ).i.:>n<l l ni will CODtiaae hi* comma*

akaiioB* in a nodiiied farm, that Uw paUie aa* aatiw the full
* — toC'ida — •

or. in plainer BigUsb, luMhw aiHtna ini i
culty iu obuining s yec h i owa of die arts, nMitufaclani^
implements. Sue., of the tdacea through which they patot -
•Bd as thia is dona ai an hMMy aanll •spanaa, and
cawnoafywittainalanHanaarooMvtjaneatothe nattre'
country of the collectors, we find that galleri -s and
museums have ultimately been more indebted t^j armies
thjtTi to ambaMadon; to iron aad laad, than to iil*ir;

and cold.

Thi! Hlrmans an' a powerful natlrm of mouritaim'ers,
will) \iii\r overrun and pu.Hsesjted the kingdoms of .Ava and
I'vj^n. iiiid united them into an empin.- situatt.>d l;etweea
the 9ih and iiiilh degrees of North iaiitn<ie, and the 98d
and ]07th degrees of East longitude, comprising about
1050 geographical miles in length, and GOO in breadth.

Music is a science, Col. Svmes tells us, which ia bald
in oonaideraUa eatinatioa taraagbont the BinMaaao.
pirc; andtharajallibnu7of itoMpitolitiaidtoeoirtaiai'
many valnaUe treatiaes on the art By which, howerer,
we ought to understand, that these are afinch esteemed hy
the natives; not that they would b^ regarded fal'Sanpa
as any thina; more than oriental curiosilie.H.

Auiiiiii;st the cajitnres made by our troops during the
present war in India, is a set of military musical instru>
ments, imw exhibiting at the Egyptian Hall in Picca*
tlilly, by consent of Col. Miles, in whose handj they have
fallen, and who ts so obliging as to lend them to the'
proprietor of this exhibition, for the gratiricalion of the
public.

Hasing obtained permiisioa to fat diawiimi made id
thoe, m have gfvaa m atddngaf fhaa, in a flato
ampanying our f i w ia a t UBaaar. llMdr deteripliott,
in the pamphlet mU at the pUee of exhibition is

very brief; we have therefore, from other sources, sup-
plied some account of them, and shall be obliged to anj

of our eorres|Miniii'iiis who am cnantollito, nv flnttlM

information on the subject.

I'ii,'. 1 is a Patola, or Guitar, in the fjrin of a
fTryrrnlile ; the body is hollow, with sounding holes in the
buk. -It has three strinjrs of catgut, siipjKirted on
bridijcs at each extremity : these are tuned by means of
pegs. It is played on by the fingon* wad ganetlllj ato-
floyed to acoonupanj the Toioe.

fig. 8 is • Sotni, ar Habp, made of liriit wood;
vamhed; more resembling a canoe whh a dav, Ami A
Gneton harp, to which the pamphlet hefbN tSMatU
compares it. At the extreaiity, a piece of bard wood is
neatly fastened, which tapers nearly to the end, and rises
in a curve over the body of the instrument. From this curre
the strings are extendwl to the belly of the instrument,
and then- fixed. At'the bark is a handle by which it is
lifted. The Siuini varies in letipth, from two to five feet.
The ]iresent is about four fei't and a half fruin the ex-
tremities. The slrinj;s which hang ItMasely from the
upper part, are only meant as decorations.

rig. s is the Tuaa, or Vioun. It is richly gilt, and
ornamented with leeilfaig-flaas, beads, mother-of-peart,
iw. Tira aatring is quite Indian, and highly grotesque.
It haa tlnm strings, supported by a bridge in the onli-

amminer ; but ia Uea of a tail-pieos^ « dodt loap ic
, which passes fonnd the peg at tha hotlon af Hw
instrnment, ud catches the strimnr near Ae W^iai.
This peg is about foar indies and a naif long, and tdwwi
that the Tiirr rests on a table, or on the pround, — de-
nanding on the performer's standing or sitting posture—

C t

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THE HABMONICON.

led M to expect. The bow is clumsjr,

tftboMlelj imtV"*^ •> tbe bodj of the in-

Fig. 4 is a kM of TkUMPBT-OBOE, ar w Obo^

■with the bell end of a common Trumpetjoiiiad to fla ex-

liT'iniiv. It is blown by means of a read, bat vc fai tain
attempted to obtain a sound from it. The tise of its ap-
pendages vre could not make out.

Fig. 5, isaToM-ToM, or India.n Drum, a small,
mde instrument, in form and size like an anchovy keg,
■with skins stretched at the lop and bottom, and tightenetl
hy thonn passing from the one end of the drum to the
other. Tois it the same thing as the Ya-kou of the
tniincff, who an aaighbours of the Birmans, and from
the latter tnen to hate borrowed other instru-

as the most valuable gift it was in his power to bestow.
WT>en struck, the hearers, be they whom they might,
were compelled immediately to fall down on their faces,
in total of aalmitsion. The «MUid Ueniila ia powerful
udbMMtHUr lfeeleBgliHMd.Tibnlioii. deunoHmil
toae, devoid of ell

FIc. 6 is an HakkosICA, ahoet tbiee feet end a
balf in length ; theVftM «f wHch ave fiiaed of apUt
one, the kogest fourteen inches, end the ihorteit aetM
and a half. It is tnned neaiiy aeoording to oar aaloial
mtnur scale : — and as this il lalher a CirioUl ftet* ve
give the sounds in notes :

brillianejpr iti
are not to*

kind

That the first a shonld not be sharpened, seems rather
the KMiU of accident, ascach f, aiid the npper o, arc
flailed a semitone. This is an instrument common in
China, and the same that Raaeau, in his Code de
Mtuiquet erroneously calls the Barbarjr organ.

Fig. 7 is a set of small Goaaib OMida eiaetlj ia the
form of that at Fi>;. 8, and tuned nearly according to the
diatonic scale. Tlif least of these is two inches and a
half in diameter, and gives the D in alt of our scale. The
largest is !>evcn inches in diameter, and gives the mid-
dle C. They are tuned iu the natural major key. These
are suspended by strin};s, from bars fixed iu a bos, ami
struck oy a wooden hammer, or drum-slick. (Fig- IS-)
This instrument very mucli resembles ia pcilicl|wa and
effect the Fang-hiang of the Chinese.

Kg. 8 is a tioNC, made of much thinner metal than
oomraon ; therefore col rendering eo powerful and terrific
a lonnd as usual. Thu centra or the dimn part projects
in the ibm of aa inverted cap.

Fig. 9, are tiro ma Cvkbau. In fhe dine of a
cup, about an indi and a half in diameter. Thej an
made of a bell metal, fai which Ihere ee ame to he aome
|)ru[;^iriion of silver mixed, and yUd a wiy piereing
sound when struck together.

Fig. 10, ara aaiaUr Fiona, orTkfSB, aada of large

reeds.

Fig. 11, "is a triangular piece of compound nuttal,
seven inches and a half in width, and four in di pth, an
analysis of which shews il to becoroposied of silver, cop-
per, and bell-metal. It is of sacred origin and use, and
u perfectly unique in this country.

" Its history is, that at the captnre of Tavoy, the
High Priest, an active and leading officer, became a
priaaner* vith the Tioeroy, and aeooid coaunander : the
two hnt iMM nmediately confined, but to the former
OdoBd Miln faTe iaataat libertj. In token of his
giatitadaJbr^npeaneetedBailL of cioawnqr, he took
2m Jiia pecaeii this tdiamn, aid

by any i

fin;

leMUn of fKitait,

Melodies of Various Nations, ivUh
Aa-ompanimenls, by \l. R. BiSlloi

S'y.'/i/i/ifxj/c.c and
I he U "rils hy
((jroulding, D'AUnaine,

H. Baylek, Esq., Vol. III.
aal Oow, fiUo Sftun.)

TiiK very prais«-worthy laste for national ahs la all

forms, has h««i a longer reign in this coontry Ann oowld

have hern px|)«tted. It niu^t be now thirty years at
least, since Ijiuaee I'level lirst put new ncfampanimenls
to ccrlnin Scotish nielcdies ; and trniii lliat liiiif there
has been a constant demand tor riuhlicntioiis of this
kind, which have accordingly nmlliiilied exceedingly,
and appeared in almost every pissible shape. The first
volumes of Moore's Irish Melodies were eminenlly suc-
cessful, and deservedly so: a few others of a similar
nature have had a considerable sale ; but the market for
such works saeau nanr to he nearly closed ; whether from

being ofcr-Btecked, or fhm a falUng-oir in the value of
the commodity, we oMUMt JKfftioa to decide i but we

ga^eittetheOeloBalf

lean to the latter, and the selection hefine as itreBglliem

our belief, for it does not exhibit that fl Mni e H and variety
of forei<,'n airs that we have befere found. Ill fhet,

whatever is now produce<l of a superior kind, is iaHDe»
dialely discoverctl, and given to the woild, htdtn Iha
publisher of a large book has had time to coUeet a nfi*
ciency of detached pieces to form his volume.

This work conUins, as is now usual in siicli coii'iii-
lations, twelve airs, four of which are also Iiarnioni?( (;, —
two for four voices, one for three, and another as a duet.
Il has likewise two copper- plate eiigrnviiigs, which
enhance its pric*;, without adtliti;; to its intrinsic value.

The fint of these is called a Ilindoostanee air. That
it flaaie aa sadi into Hir. Bishop's hands, we ham ao Und.
of doabt ; bat its EBropean origin is to as very apparent.
This is the sii^pleBt and prettiest mehidy in the book i
but tlie adapter hu been too liberal in tbecnaphom^
and pi > on a couple ofliers — or afoot, as prosoolats would

■ias t.ju I'.iiK-li. Tlie accL'iil throughout ihc wholeof this

is most unfortunate ; the lirst four lines will suffice as an

ezaiBple>—

SSe naier binned Mm nsTsr,—
fiut reojved Mm «ben he came,

Wirli n H clcome kind as aver.
And she trird to look the sane:
nearly every line, out of two and thirty, is treated thus !

Tlio second is Venetian, rather monotonous, but ex-
uressire. The third is ascribed to Greece, modern, of
eoana: it most have been originally cxportc<l to the
ConnlTy of Tiawtbeaa from the port of London, for it
atwff gjiy «f MBM of our nelropeliian

ma&ic.

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THE HARMONICON.

The foorth if Bartrian ; » good air, and very much in
the style of Uw waitaei iroin the aaae portion of Ger-
naay. The nest it called IndiUt irUdi leares vs half
tfedM^tofMH in, aa ta tha nal ^^eaaf ito birlh.
Uw latiadauiMi to U ■■ aa alatomn tpaefanaM af
made harmonj, that mM better have suited a apu"
phony than a song. It Is, however, inf^enious. This is
also oaroumiied for four toims. The accent is here
again extremely faulty. The sixth is said to be Italian,
but is in reality (lermaii, beinp 'Wcigl's Pna <:h' r i
V jtnpegno a little altprcil. The notes of this suit the
words ver^' ill, for if sun<r as writtL-n. with the rests
breaking into the sense, the lines will be deprived of
Bieaning. The same appears immediately aAer^tai^s in
the sJume of a daet for two aopranoa: m which form
«« mnch picCw H. The rnnam it Snaaiib, and dHi-
wdwJitle:

The eiglitli otmiet fioaiGcinDaBy, and is wanA in the
IbfralcaB atvle. ItialilwwiieaiVBiwjBdfor thieeToicet,
imk good dbet. Uw next h a Bcotcli melody, in a flat,
and not very reatarkable. The tenth is a " Troubadour
air." The antiquarians would rejoice at such a discovery
as this, could ihcy be persuaded of its authenticity. \N'hat
a subject would it make lor the Archaeologia! — Jiut if the
subjoined w to be considered as Provencal hanmoajt We
have no reason to regret that it is so rarw.

The eleventh is lumished from a Trench repertory, and
is a verv pleasing air, i\,r a contr'alto voice, or u low
soprano. The svniphunies to (hisexhibit another of tho*e
neglijjencies — for as sudi we must consider if
do any thing but credit to the publication. —

This is uls<i hurmonizixl for fuur voires.

The twelfth ami last . t th. is a A\ < lsh melody ; a
jtood martial tune, in cliRracier with some of the words,
but inappropriate to the mournful stanau, notwithstand-
ing the occasional change of time. The piano-forte ac-
companiment — four bars of rapid, tinkling jiniigmtTUt
descriptive of a cypress, is not very happy: but parte of
tbi.s piece have considerable nxrh.

It will be obvious that we do aot consider tbit
as one of Mr. Biahop't matt t acee anf al labotm: it laemi
to have been adewam^ task to form it s a want ef the
** llBM't Mcaeoee'* M indicated in more than half the
fMVtt Un we should conjecture that the compiler si iit it
tatnapntiwithont giving it those finishing touches which
M mud hara — '

•nai

yet we fear ttiat it baa not nued
wbieh might have been expected,
cboin km been too ambitious, i

Paboohiak FiAUioinr, Mn^ a CUfadton of the matt
approvtd PtALM TiTNBt, turmged fir a CAmtk tf
England Ptaim^Book, itttetvd fivm the oulAoruwl avw
AHu^ ih* Bier. &. Kenne^j. A.1I. Tke laMb
BMsAf Habhowibbd mm Fovk Vetcst, and dedi'
catea, Ay ^ermtsiMii, foHia M08T Gbacious Ma-
jesty, GsoROE IV., by TA0MA8 Greatorex,
Conductor of His Majesty's Conn^rt of Ancient 3Tusic,
imd Organul of H'csUninsi'ir Afihry. (Prinied for tlu:
Edil •! . )

Ji ouiNU by the numerou<> arrangements of the ^salm-
tunes which nave been published during the litst thirty or
forty years, this species of sacred music should be in n
high !>tate of perfection in England at the (iresent peiiod:

the practical prugress
Perhaps the panebial
and hav« deroted tbeir
attention more to adapted foreign melodies, than to tba
ancient harmony of the reformed churcli. Hut, what-
ever may be the real cause, genuine psnlmody is not now
ill that slate of refinement ttuiijin;st us that it (ini:!it (o be,
for it is deserving of cultivation, and is llie (jiily .sp'cies
of music in which a consregatimi can reully join. Not
that we >4ould encourage it to the exclusion of our cathe-
dral comjwsitions, or ol' the fine works of foreign masters:
we only desire that it be fairly mixed with these, and
that one tune be wdl per H wncd in the nMning awl in
the evening sen iec.

IVitb this feeling, we cannot but be rejoiced that •
man ao experienced and eminent as Mr. Greatorex baa
devoted bit attention to tba impotwMeat of «nr national
pealnwdj, and put it in acnnoitioa that induce the
eborisfs to perform it welt ; in which ease it can hardly
fail in producing that elTcct which so invariably attends
good harmony, and will, most probably, invite a largo
portion of each congregation to join in the hymn of sup-
plication or thank&giviug. To tempt tliem to unite their
voic«!s ^viIll those of the pnjfessii nul siiii;ers, '• new
music," -Mr. G. tells us, in r sensible preface, " was not
requisite or desirable :" be has " ihcrcfore chiefly endea-
voured to select the best melodies of our old composers,
bntwitbont excluding those of a more modern date that
appear good, and suitable to the solemnity of public
worship." He has also chosen, for his pur|iuse, ** tmiea
of simple coattruction and flowing mel«>dy, such as the
nwmbeit of a congregation may easily learo, and retain
in wemaiy."

Mr. Greatorex, following the plan laid down by his

co-adjutiir, the Rrv. R. Ki'nii(><ly, has pointed cii!, in a
table clear!} drawn uj», u course of psalms to be used
throughout the >ear, and has nppri'pririti'd to each
Sunday and festival those which aipcar nin.'.l applicable.
Tlir mIiijIi- of these arc newly hnrir. iin/'' I ; ••ami lojjivo
the alto, tenor, and bass parts more llltere^t than if they
were written in plain counterpoint," it was necessary to
render them " rather more difficult than they have bere»
toforc been." An organ part is added to each tunc, witb
the chords wiillen in full, in addition to which the ban
is figured.

la thoae who are aoqnalnled witb the Bkiifol manner
in wbieh Mr. Greatorex 1ms barmoniwd many of our
most favourite melodies, it will be almost needless to say,
that he has Iiere arranged our l>est psalm tunes with an

ability eijiiiil Id thai whiclL lie Iiris lu. liT'' iiiiiiii!'.-str(! : tlie

inner parts flow smoothly, and sing mcU, producing a
, — „ HI derotiaoal effect.

uicjiiizca Ijy Google

TBB HAUfONIOON.

I>4Mar to cmMcm Milan «o jadet of the exeou -
lioB of this TTotk, we otlfMtlte Itft fwrtion of the lOOlh
fuin, whidi weKlect,beenwbeninappean«dem>

tion from the common text, whereby it M, aeoording to
oor taste, extremely improred. For this rtadmjfti the
passage, Mr. G. has nUvays fx on considered reipMlttle:
we i^Dow not bis anthoritjr tor the alteration.

■^^ n

u —

1 f^^\ S* 4

large a denand is expected for it, as nothing short of a
■Bost extMMive sale enables a j^Uisher to enconnier tba
eiqpeMe of pfintaac moaio in this maimer. A nnsiciMga
in folio, engntwd u pewter, ii obtained at a cboap nM^
for Itootte.attkaataMwttaevenayiUng*: cetopbiMaii

it rmmnt botlaM IW ICH tlMBI tWMltj-Clfl^t. But UNB

u jx w tor plato will not um9, «pon an awage, thM

firtct n hundred copies; while type baa baidly aay Unili>
The present collectioB compnsee all tbe adflHrafala aM

tunes to which we are arcustom^Ml. To thc&e 8tandn€
and sterling meliidics are addwl nunilK-rs from tbe great
compowTs— iind & few from some very little ones — with
versions of the psalms adnpted to them. Besiiics these,
•re many anthems, i,ome at full length, others aliridfied,
from Handel, Kent, Sec, and amongst them we find
Attwood's Coronation Anthem ; but the air of " Go*
save the King," which the author has so
terwoven in the symphony, ia bere omitted.
aacbdetetaiMdmnUicniMtawatbofbrgifi
^Oont pntendInK to ba«e looked deeplyjnto each oT

ingenioBilj in*
ed. TUl. flNMt
I fbrgifcn.

the

anwinw

Tk* Boirtaa Handd-and-Haydn Society's CdketloB of
Church Music, being a seleclian of the mod amrcved
■ PsALMaml HYMN-TuNE8,/njin/iWIForfaof Haydn,
Mozart, BEKxnovEPf, &c.. Harmonized for four
voicett with a fgund Bom for the Organ or Piano-Forit.
. .. - iJjpfe/^jJortflM, 1885.)

Music Ai. Sodedes aie now fbnMd in all the principal
cities of the United Btatoi of Aaterka. Many proofs
have been shewn in our work, of tbe progress which the
science of sowid^ is making in the western world,
amongst the descendants of our fL)^ fathers ; and every
Bionth is adding some new fact in corroboration of the
Statements atid opinions which we havo given on this
subject. But the present volume speaks more strongly to
the point than any thing that has yet appeared : here is a
Work of three hundred and fifty pages, containing one of
tbf; most ((jiiiplete collections of psalmody that ever was
embodied, printed with great correctness aud extraordi-
nan doanasii in %pe/—tboiigh, except that office in
tAbh Aa HAUOViCOir is nfailed, than is, we will
» estaUiHUMat in Cheet
ne could be got oat This
nent of the Americans in narie, Ar
Oe Mlliag^ a walk ef gnet ealHil ia 4pa,ihtwi W

the tuneo— amonntiag to betwesa ihiaa aad Aar I

— rontained in this Tolume, we can assert of the

whirli NM- have examined, that they are well _
that the harmonics are faultless, and that the devotioul
character of both music and words !ms n attended to
most strictly. IVora the pntface we It um, that for the
general selfc:ti<)ii nf tlii'iuu-i( , am! ri visiim of the har-
monies, the Bocicty with wbum the work originated is
indebted to Mr. L MasoB. « ailife«r N«r Bafl^Mrib
now icaiding in Geor^

iNTKOniTCTORY EXERCISES to the ART OT SlNGTNO,

ittcluding Scales and Interrals for the practice of sol-
feggio, accompanied by a Collection of Ariette, and df
dicaled to Madame Catakeni, BoniTAZio AsiOLI,
of Correggio. Tim traml«tion, with a few nolet, by
ToMKAao RoTSDUro. (GoaldiBi^ D'Almaiae, ke^
SahoSqmre.)

This isarepulilirati.mof thc5m/,' r ^^dfljfci- )7 Si /'' w'-',
3tc., printed some years ago at Milan ; with n irau^iation
added to the original Italian text of .Asioli. Of the gene-
ral qualifications of this eminent musician as a teac her,
we have spoken recently •. His present work on singing,
with whicn in its ori|pDal form we have long been ac-
quainted, assisted us in forming the opinion we offered,
Wt we consider it as one of tbe simplest and best intro-
dnelimu to solfeggi extant. It is, as bis own niaia unas-
snming title imports, nerctar a aeri saof seaka and si
skips ; but these are raried fa «»ery ussfal aianer, um
acconiiviiil! li by a figured bass, which, if {urnierlj aaOBf"
stoixl, \sill assist the intonation, acciBtom tne leariiorla
the elTiH t'f of comhined sounds, and initiate him in the
hariiKiny of the diatonic and chromatic scales, — the most
essentitd part of Mhat is termed tliorough-bass._ To the
foregmng are added eleven ant lli-, or short airs, with
Italian words; very elegant, limited in coin|>a88, easy,
and with all necessary marks of expression lor the ma-
nagement of tbe brewi.

Mr. Bovedinofs
ermn. Be new i

ciaet meaning: fori

*• shake or tnlL'' Hii aaMlMiMi, li svUeh he
bom bis aalbor. mi|^ haie faeea ^sted, fin Aaf^

neatta.

I Mailalioa is act wboUj iiee from
nd Ihea 4aei MleiMmijflie writer^
9riBslaiioak«CBafa at| eoBoamiac tbe

Digitized by Google

THB HAiUIQNIGON.

iMtt impcfKMialy dcnianded, and his argumi nts will find
manj opponenia. If we rightly undersl&iid his mcauiiig,
fi9 differ from him on lh<; subject of the shake.

The tens tibraziimecU voce — the vibration, or, perhaps,
dsTtiog of theroice — being of lale introduction, and not
rmej gMeMll/ kaowa, tra abaU iaterl Sioaor Aaiolt'i m<
fhaalim of it, witb If. RoMdInoli InaiUliaB.—

" In vifirazlntie di voce t' nra parte d'esecunone ddla
mcssa (li vrM'f, |jresa dal mezzo ui fine ; e ^ercid si dovrk
bait' re <j Mljrare, con molta forza, da princqpiDi • noeat"
•ivanenlc dimiauirla sino al pianusimo."

** navlbnrtioa of the Toieelaa part of the metta di
•BBr, eoauMndna froai the pmrar, and eodtnz with the
loftiniee ; theimra it ii neewaiy to powernltj sound
and vQMrate tke Toice at the fwmwwiMfaf, dinuiiddDg
degrees to the pianlMlaa."

Thp n Mt.: 4i }iKe, is Ibe tpring, or swell of the voice ;
fvcry inaccurately rendered " placing," by Mr. R.) therr"-
roro to vibrate, is to begin at that ptpint of the swell -whcrr!
the sound is at the strongest, and then decraaae to the
■Inort softness. Two lines converging toafgiBttOigtaiB
il CBKiljr, «ad bore we aafc «M«r flt» mhb-

aaNMit ligns wad in nrasie.

I. La Fflile Babaiaide^ a Bbiluant Rom»o» «sm-
poscd by J. MoscHBUS. Op. 66. (J. B. (Yamer and

Co. 801, Rrgt'Ht Sln-rl.)
S. BaiLLiANT RoMno for the PiA-vo-l oRTE, on a
populur air nf the German BitrUtta, Die AN'iener in
lierlin, comoMcd &y J. MoscuEUkS. C^. 07. No. I.
(Goulding, I)* Almaiaa, and Ga. Soko Spnfte.)

3. Do. No. «.

4. Do. Mo. S.

Ko. 1 if an eatremel; qirighily rondo, nrj Inflllaat in
dfeei, yat not alarmingly difficult to execute ; lor the
JileareUo being noderaled by agnuiow— (droll Italian
by-tue-bye,but very comaion]»— ibe time is, we presume,
not meant to be quick. But why has Mr. Moscheles not
marked the movement of this piece by the metronome,
acoirrling to his usual most laudahlc practice { why leave
ill doidit th'U admits of being reduced to certainty ?

This cximposiiioii has two subjects; the first volatile,
whence, perhaps, the rondo derives its name ; the second
rather rouru soWr, with an excellent base in the Corelli
Style, and well contrasted to the former part.
. No. 2 is written upon a motivo i la Valce, which is
managed in an elegant manner, and in rather a familiar
alyle. The whole lies well under the Imod, and ia evi-
dently caltntlated for general chviilation.
' No. • if one e( t£e most original, oMtaiatbg and
deKghtfU tega tell ea tbat has passed mder onr critical
jiolioe: the author most have composed it undr r the iii-
4muoe of a bottle of cfaampa§;ne, it is so sparkling ; aud,
wbicfa more than double-i its merit, it if witllitt tba con-
pan of all tolerable proficients.

No. 4 is, as No, i, writloii in the mhIIz style, but more
Studitvl, and full of novel j)assa2es and effects. This
b a piece that will gain very much by frci^uent hearing:
there are partji of it which are too scientific to allow it
to become at once so popular as the last mentioned, but
ahimalely it wtU make ita w» to Ibe Mi of all good
|h y » a w ho adndw the pwdaeU of aTfaatWM 1 — d i mHw i
M^bladlqraaameltaile.

1 . R o N DO /It i Pi A xo-Fo aTE , compou-d F. K axk-
nREKKKR. No. .>. (GrouldioK and Co. Suho Stfuire.)

2. RoNDi.vo, '• Giovinette che fale,"/rttti» Don Juan,
arranmd for Ihe l^lASjO-FoaTE, J. P. PlXlS. Qp*
sr. (Cocks and Co. Princet Sirett, UmioBtr Sfwuv.)

Ma. Kaikbrennlr's oompositiona are geaenlly gay
aaA brilliant, seldom very profound} aevectbeleaa we
ham eeea bat iisw of his publication* ia vUeb thaw la
net aomo aaibjeetor pasbage shewing bit iatiamfe ae**
qnaintanoe with the ancient classical masters. This we
mean, and donbtleat be will receive, as no slight praise ;
for in the present day, it can ho hestowed only on a few.
— In this respect how widely the professors of music
differ from those of painting! — Mr. K.'s roml > iiiij ()f
animation, very simple in measure, S(>ariiif; in iinidulation,
and abounding in octaves. Tlie short imitations, or fiigal
points which are interspersed, make it interesting, and
give it a aeieatiflc character that will recoouiena it to
the real amateur: added to which, it is a good pieee ftr
the practice of those who wish to aa^uiro cxecutioai wiA>
ovt aaTinc to atngile witb laborious iutrieadea.

Why M. Flail aheaid apply the dimimtlTR t'm to Ua
rondo, we cannot diviae : it la neither short nor trifling ;
on the contrary, it re a e h e a thirteen pages, and requires a
good performer to do it any thing like justice. Moreover
It is full of masterly contrivance and excellent modulation,
shewing no small extent of science, and an equal share
of taste. This beautiful and popular air is ushered in by
two pages of introduction, in which a fevv bars of the
.subject that follows is slinhlly touched upon, without
absolutely anticipating it. This is judiciously done ; and
the whole of the piece has our hearty recommendation,
for wefMaMured that, toeipert playtn^ itwiUpnm
an aecpiiaition of value.

1. PoLON AioB BaiixANTE, for Two PetforoMH on or«

PiANo-FoKTB, compoM^diy J. HtMCBBIWi (Wdlh

and Uawes, S48, RegetU Stmi^
9. Le Pecbetv, orran^ for Utto^ A. BsmiBT.

(Cramer and Oo^ Ml, Street.)
s. " Non, je ne tana pea cha n ter," hv Nicoio, arr.for Do.,

bu J. J. Habstb. (Homo Jt May, 1 1 , Holbom Bart.)
4. "Una voce poco A," by RoaaiNi, arranged at Ditto,

fcy the tnmf. (The tame.)
TnK subject of the polonaise by M. Moscheles, consists
chiefly ul some rather awkwanl arpcijyio passaiics, which
will deter many players at the very onset; and these
parts of the motivo, of course, frequently recur during
the piece. Indeed, throughout the whow of the dnet,
very little regard is shewn for the eoavenicnce of the
parfimner, who nmat be aecaalameil te difficnltiea of a
feaainfjt kind, if ofeiy page in the apper part does not
present something or dUwr to ecM l i a n a ItilWoi Thil
we particularly regret in dm preaent ooaipoiitioe, at tt
displays a great deal of that originality and spirit for
which its author is so much distinguished ; and if neatly
executed, will produce a \cry brilliant, nooeleAct: bat
the urtmo must be a very good player.

Mr. Hennct's duet is sia^la^ piMiiBg, MUd Mmngad hi
a very familiar manner.

Nicolo's favourite rundo makes a good duet: .so docs
Ronini's air ; hut the transposition of the Utter from s
to r, mtber injures iti eflbet. T1mi|^ we jgrant that, to
make it geaeraliy nMAd, it waa Moeaniy to wiito it ia •
1^^ oOit peator fiwiUty than thirt ha nUih it wt»

THB HARMONIOOK.

I. A Third Polonaise for Two Perfomers on ike
Piano-Forte, amfoted by I'erd. Ries. Cjp. 1S8.
(Cramer and Co., SOI, Regent Streri.)
t. ** BeriuBo," from Roflsian'a (Sam Ludn, umatged
fir DHto, Cy M. Hoxar. (Oocki and Co., M, Princet

Street, lie

3. " Non pill Andrai." froni I'igaro, arranged /or Ditto,

111 llir (% t!:r .■.r.ni-.)

4. Vabiations on a French Air, arranged /or Ditto, by

S. CToDBX. (Bniitar, 10», OmatUanH.'^

Ifo. RiiM tit mt Imcb aura eomMarala than Mr.
MoadielM of tbdM to whom M« polfloatM aiay fall, for
his subject is qnite as difficult to manage, and lies ns
little under the hand. It abounds in passages of half-
notes, so repugnant (o the scientific principles of music
and to f^ood taste, and is altogether a InlwurMl composi-
tion, iliewing no invention, and f.carceU iiulilii);; (mt n
single attraction. A peculiar dryness in stjle runs
through it, and it certainly will not be viewed as one of
the happy cflnrts of this clever musician. The intro-
duction, however, must be eieaftod frooi caaaan; it is
aiasteriy and effective.

Noa. S and S, an catealated for fhoaa irfia have cither
aade aa gnat adtanca aa i icr f ora w w, or who oonsnlt
liairaanttllHirelioieeoraMiie. Bollianefdte

No. 4 is " Ah ! vous dirai-je," wdl arraiHnd, bat not
in any very novel manner. TUi dnet inU mit two
persons of whan oiw it ralhar iMne adfaaoad Ihtn liw

other.

1. OrKKTumx md SiucT PncM fim 11 Cradalo ia
Bghto, arranged a* Dwnfir Two Perlbfaun on one

FiAiro-FoRTR,/jyTiios. Attwoos, Stdkt, (Cle-
ment! and Co., 20, Cheujmde.)
S. The Same, liocJi .'1.

3. Air, by Berbiguieb, with Varialimu, arranged fir
Ditto, by A. C. Whitcombb. (Jhiam and Sopkfu,
«», CortUtiU.)

4. « Let the bright Seranbin," arrantfed for Ditto, hy

W. EtHKRINOTO. (Mitchell, SS, 'Srw Uoml Slrrt'i. )

The first and second of the above puliliratinr.s nrc a
continuatiuTi i>l Mr Aitwood's arrangements from Mcyr-
beer's fine opera, which — as may be seen iu our foreign
correspondence and report — is performing everywhere,
and with the most unequivocal approbaliou. No, 1 con-
tains the Cavatina, '* / doni d'Blmire," with the sueeeed*
ia^ daet and cbonis, completing the scene. No. S COBlo
fnanthaehtrat " Urridt vesxote," and dance ; tedatt,
**,dJkiMml0«Mi«ucafa,''wilb the beantiial aumawat,
<* JV!m at far not.'* All thetetNamafed wilfa doe eon-
tidawtion for the nneralityof peribmiers, thooah withont
laeiifeing any of tbe compaoer^s efTecta. There yet
remain some of the most splendid of the chorusses, kc,
in this opera, for the e.xercise of Jlr. Attwtwd's skill in
fidiiyitntirin ; and we trust that he will exlei d Ins work to
another numbiT, at huist, for the purfiose of including
them.

The air of Kerbiguicr is well known to flute-players,
with whom it is popular certainly, though we do not
think it quite so likely to please [Mano-forle players. It
makes a prodidous bustle, without yielding any eqnivalent
effect. 11m tewcfor antes fiwn the aataraflftae

C'tioa, and is not to be imputed to the
executed his part of the task respectably.
Handel's bmvura air, from the oratorio uf SamsoMf
makes a good instrumental duet, and is well adapted.

LVar* */ omr Remtm for Unt momlk, mml tUm* ntr tUt Uu mtH ; *l Sto
Friumijfamf m MK ** i* dMjr/WaUM vM ■frraMMr Um tf em

NEW-YORK OPERA.

Tmb niotlor party, chiffly S|>»nl»nlii, thiit left Europe st
tl>e beifinnint "I * *ct<ibfr, un au upcmtic apecaUtion, have rooi-
inenrsd pnH-ccdinps .it New York. The tint represpiitatirtn of
«ri iMli.tn iiiiuiral ilrnnia in Aincrii .i, will ht'reKfti r li<^ (onsi-
dert-ii its .in intcrcstinfj^ fporh in the hittury of the art : wa
therefore reprint, verbatim et literatim, the adTertisement of
the performuice, from the Nbw-York STATasU4ii, of Tom-
da v. November 89th. ItML Tkt titlo of the oMfi. m it bm
appear*, i* » carious speciaHa of Sipwr dMcIa^ kaoiriedge of
the Italiaa kat^iuKfe.

NEW- YORK THE.\TRK.
It(U tan Opera.

(t^" ^limorGarria reijioclfullf unnoiinces to llie Ami"rie»n public
iFi-il Ih' liaflliift. lv arrivt^l in iliiw cnuntry Willi an luili.tn iraop,
(iiranuEil wliicb arc aomr ot tlw lir»( artijti uf Kiirop«) uid ima
made anrngnMOtowith theauav" «f the NEW YORIt THBA-
TRE, to hawlhehoote en Tucohjri and 8itarda;ti oo vUab
oMla the ehoieeit Italian nprnm will Iw pi-rromiad, b o aylo
wEkhbelhMtnhinurir, vill kIvc ccncml Miitractioa.

THIS EVENING, Nov. 99,
wilUx-perronnedfteihaflntliaelaAMrict) thelMhat

IL BARBIBRik DB SETIOUBA.

nnoriaa Oaacis.
SteaomG*KiM«.
sitaMGAKciA.

„ AaotiiiAM.

IlotK.'ll.

(!*iiciA,jun.
,, Crcville.

B<-rlha,

Count Almaviva .
Don liasilio
Don Bartolo

V*if>ri*lli'

Kor the mcccrdins eight dan, tlic namet of petaoni dnlrooi to
take besM of haoMM fat ihe s eneo of ilirce inoai)M,or (broaa
nouh, win he iceeivcd at lh« lras*«flee at ttie theatre, and the ap.

plicants for the Itinsi sl term rend pn'mcsi nuuibtT of »e«ti, will be
enlidrd to the rboinr of bo\"». Tlir jralj in tlir pit will al*o lie
niiml>t-rcd, nnit may bo taken for the nanir p<-ru>H,, nnd will b»- re-
u'ubiitftl in ilip name manner.
Tbe price of box>pkacr* «ill be two dollan: of pit, one dollar ;

aad of galleijr, twaolr-flv* ccola.
TidMls or Ik* per

penDanent bcnei win he
■t eight o'clock.

Tbe tanu Janmal of the fullnirinir day, makes tome short tf
marks on the ^rfatmaure <>f thi< opera, an<l ia very lavifh ia
its praise of Stjpior and Mademoisrlle Garcia ; but wlien WO
add, tb.'it it l>estow( the same kind »f comnirndation on the
other jicrfiir(iier«. the previom panejryric will appear something
Ttt\ like n bitin? Milire,

The fiiliowiriL,' are the words in which these others are mfti-

tiotird. ■' we will, therefnre, nimplv remark, that the

(Niiu'c of (<!ir< ia. jun., in Fiifaro, (Jrcvelle, in Fiorcllo, and Ro-
»ii li in Doll Hartolo werr, like the rest, excellent."

I'lHir Ku«ich I — little did»t thou dream, when thou wert fairly
laujiied oBt of the King's ThsatrSb tn jmn iffii^ IhatOMt
wouldat etrer be extolled at eudleot. CHrdii too ii bteoaa
esecllsnt Irr a Iri^ ursii the Atlantic !— and the salt water hat
alaontnctedOa hint excellence of the boy. Garcia I— Mar.
velloos waves ^have they likewise inrigonited the auditory
nerves of tbe orfiVet, and enabled the vojio^ers to ting in tune ?

We are iu hourly ejtpectalion of hearint: from our Ncw-Vork
lUrad: he will gire us an impartial account uf this performance,
ig tame eftkt fint artitU ifEw9jft! Bravo, Signer Oareia I

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THE HARMOMICON.

foreign iEusual 3aeport.

VENICE.

Telttro S. Renedeito. — Prinfipil »in?i'r< ; primn ilnnna,
Snntina Fcrlotti ; tenorr. Domrtiiri> Hi-r\nr.'\: ;uiil Aami,
Duroeniou Vnrrani an4 I'irtni \'a«Mli. 'I'hc sns.m open-
ed with Pucini't Cttlifn ili HagilntI, wliich. as »cll ;n a
new open by l<e^>(Kil<I» /ajnttnin. entitlcil, Oro mon coiitjira
MMrr, OMile • dMul Jbuet. The la>t-m«ntioned onmpoMr i«
frum Um Miniail Lyceum at Dologn*; Itr it only in titii
•ifhUmdi ftw, nd pomim e atM tnht* talent, but be would
4»wtttNtlMr Ibr Uw pwieiil tottadjr flHn coaipiMc. Tbne
Mlum w«r« mieeeeM br RwinTt Otrfb. •nd Morinecbrt
TtobaUo tii Mima, ia wlM VMuIti md Bcitnrf gaioed

muJan.

AAtr a considerable intrnral, f proceed to rive ron an
MCMMt of tlip norrltiea nnd (M-riirrpnccs o( Ine past <(a>

eMt Ulis pl.icp h,is Ijpcii uniisii;u!v ^iiy of late, nut only
iW[bten rrBPci! with the prcsrin-p of tlie impoml court, but
■iMin tereral foreiifn priiicm. UeiMei wrcnU extraiirdinarr
fMw aud eshibitinnt, nu Il>«> Wan tight theatrei were open at
llw MM thM, in which optiM^ iwindiM, g^ynnaitie icpre-
mltalium, ke., were civen. Bat pnttriUNUndiaf all tbb, it
could uarecly bt •MMud to Ae name dl%*taghn« temttmle.
Ur in reality «ra kad no prima Jonna^ mt mj new perfonner
of coDMquence ; and, with few exception*, wn bad all tbe old
Ofciaa orer af»in, jtnt each ni they arc perfunNd bom year to
year in Nsple«, Venice, Vienna, ariil P.iris.

Teatro alia Seala. — With the exception of Garcia and
Cnntini, there wai ciactlv the same company at thii theatre
at in the prcrcdinf sp.isun ; it it whitperea th.it the state
of the fundu of thi» f<tahli»hment would not warrant it*
enjpjffinf any firtt-rate talent. At the apertura, (<)|ii'iiinL', ) at
it it called, the audience were rratlfied trith a twtKfold finsco,
fyt buth opera and ballet fell to the i^round. The former,
waa irom the poo of the Uarchese Sampieri, waa entitled
w tn Siria. It it (aid tocoataia tome ptccmof merit.

bat the itory it wretched, the poetry wonOt* aad the nor'
tion of interett the piece mltrht have posaetted, wai totally
deatrored by the wretched performance. Indeed, it it (aid tltat
a caluil of the lingers wm formed ai^ltuit the piece, and that
they itrore more than commonly hard for !t« condemnation.
l*ompey w»» therefore chated fnuii the nrrne bv Seniirami5.
The MarrliPir, it sccini, wnt cdiit a'rJ in the <.,\nir ]ii;ire with
the irrcat i'liil of the age, and wbj a fellow (li«-iple with him
under I lie Abhate Tetei ; hence, there it no wonder that he is 5i>
frequently neen hand in hand with hit fortunate friend. It
cannut he denied that the fir»t net of f'ompro presents 5iimc few
piecet which piitacai a certain riracity uf rharactrr, which, in
'taf ftltmaam af Mrit, oqgbt to have ennurcd it a
«f wc iMH . Havmr, m a vkole, the opera it
riwpiuiioa HOf* aad aaaiwwi — atdded
bol Ibca mSw b abaadaat want far At dmna and
The comp«»ert of the prctent Italian whool teem
ta hare t.iken the late celebrated ballet-matter Vicano fur
their m4>del. " Daih away, my boyt !"' wat the watch-word of
thi« »ii>f ular man to hit .\iar»tri. Hlrikini; at the tame time hit
head with his fiit. intiinatinpf the effect he wished to be pro-
duced iifion the audience. orchrttra tirvr rrejinrr," (let the
orrhemr.i burst rather than i'ivc in,) rejitincd his ehanninf
(lanifhter ; .mil I In* e xliurfntiim from one ut the prettiest nioutht
in the world, Wiu tri-»li atiinulau! to the jadcii perfoniiert.
The greater part of tlie r,iiiipii,icrt of the pretent day teem to
thiak that ao aptra leWa can tubtitt without cuch a frocat.
iBmdl>iatbaww4talhepa«t«ribadMatM.biafder that the
MUedeedebedage awybaaonded IbrtK eeoie vhat come
■ay. Prttto. pmtiaim f hit wdUbhKitened aeure it in the
Aandt of the tionrt, tlie orchcatra lirei away, and the public
JouraaU riog with praiaei of the new eap» d' aptra.

But to return to Pommta. Thit oacra, aa we before obaerv-
adLwaauafiNtaaateirilbMifctt «• lh«Mi«ms PMaf«oiirat

but Jtiit rrcorering from a terere indiipotition, and it it evideni
that thit excellent tiager hat lo«t much tinee lier illnrti. The
Si?nnra Favelle tuD^ miserably out nf tune, and waa to intolera-
ble the fir^t rrprrsentntionof •Vr4MjniMiiV/e, that the wat fairly
lii -i") 1.11 the ■ta;:''" ; and Ualli falling ill at the same uotucky
mumcnt, the theatre was nhlitrcd to be closed n whole week,
during which lime .Misn Fcaron, in her utual m<»t obliging
manner, studied the part, and the yoiinrer Oalli tooJt hit
brothcr't character. In imler nut In i:tii<', one net of ,Ve-
miramide wa« given, and by way of a inakc-weight, a tecood
ballet wat thnnrn iato the acale of tbe eveaing'a amuicmeoti.
Shortly after we had Ibe whole of Seauraaude, and the per*
formert who had ihut kiadljr ro lno le ered their acvriew, net
with the applntite iltey merltM.

The timet, with reg-anl tn opera* and upera-tlngera, hare
changed amazingly witliin o<ir memory. Not many yean ago,
one prima ilonna would hold out a whole aratoa of four inontna,
even in the arduo<ii interior of tlie Scale; now, half a
dozen tcarrely jnffiee ; one it ill, another tinif* nut of tune, &c.
It is only twu rears aiyo, when the thc.itrc at N'aplet eonj.l
rcclion eleven prime donnr at one and the b*iuo time, and ^el
the whole female llarhnjnn tri!)e fill ill at the tame idenltcal
niiiinent. M.iy not all thii Im- traied to iotnc canse ? Aniniredly
it may: nnd to «vhat but to the Inlioured and l;ib<>riuii^ ii|ier\
of the present day, with itt dnims and trombones, and their
tittert. tbe csAo/eUa and enteendo, which cannot but luirc the
effect of wearing the ttiongett roice tn a mere thread. On onr
Seala, fat initaace, the hanan Toice ia aiade to contend for Iht
mattery with 119 la i tru me ate, all ia full awiag ; aod thit ia is
tbe talMdaetioa ta StadmaMe. Caa tUa be pradoellfa of
any other Ihaa aa lajuriaae elwt upoa flw Talie^ eepedallf of
theyoungtinger?

The Moti came next, in which your cmintrywoinan, Mi<a
Wilson, (not Harriette,) waa to have roailc her dcbflt in the
rtiaracter of Elcia : but she .tlso eauirht the aingcr't influenza,
and wat unable to appear to time, sn that her place was nbli^ed
to be tupplied by n Mile. I',iiilir.,» SieArd, a native i>f \'ii>.:!i;i,
who bad ju»t concluded her entitlement with Mr. Glusaop at
Naplet. She waa ^iplaoded on her firtt appearance ; but ia
the tequel thit appkaie gnafaially tunk into a lieemceiMfo, and
ended very ihattw ia 4 aoneaile ; thtiam '•Aar aat of Uma,
nerhaps a whole loue Or ao^ wb^i 1HI sot da ia (he 4'eala.
Mitt Fearon took her part, aad pleated much ; Oalii the
younger gained a good receptioa In the part of Moii, and btie
fair to rival the fame of hit brother. The Moti Ih Egllto had now
kept pottettiun of the ttage a great purtion of tbe «ea«oo, and
it IS probable woiild hare conliniied nn tn the end, had not the
unlni k V <>(i«.ervation of a wjuf, that it had become Mosi in Mila-
110. arrested its cuurae, for a po;nil.ir juke is omnipotent here.
It WHS aceordinifly succeeded by the nacranali of Ucnerali, in
which the Pesaroni again resumed her place, but with little
)tucre«t. as the part dues not lie within the compat* of her voice.
Immediately alter thit fell Signor Clerico't new grand ballet,
and great was the Mlhefcart fw^apMir lhataeMaaMild
ita tumble wae territe. Vht ItaHaiM an the aiott nirfoua
creaturet in the worhl ertMn diaappeiatcd of their pleasures;
with an opera it it bad enough ; nut when it cooict to their
favourite Valiet, and ita gurgcout tpectacle, their mortification
it exprettcd ia a perfect hiirrirane-accompaniinent.

On oocatioB of the vi»it of the Emperor of Austria, an ho-
norary Canlaia wat (riven, tbe compoaitiun of Sii^nor i'ietro
Rnj, pnifessor nf sing-in^ in the Conservatory of this place.
The tlient.". \i US 1 rowded to exrcst ; more than 2700 ticketa
were di«piiseil < t '>ri thi* ocraeinn, and above 400 pcrsnns were
obliged tu rcl urn wiihiit hi'i'f^ able to gain ndmittant e. To
thit it muHt he aildeil, that the number of regular tubtchbera
amounta to 15,000. without laUaf iato «Kaaat the bm lkt»
which it renerally numerout.

The AaaaaaU ma followed tf Lm Ctrntrtnttta, jm wUofc
ap)>earad CMMe CoreUi, (her (nw iMHna it Coloabelli, a na-
tire of France.) She ie a jniimI ef Gaiwd^, and diiplayed a
guod, pure toprano rc^, of cooaidenibb compat*. but yet nut
powertnl enough to produce the aecetsary effect in thit ratt ia-
tcri<». The tame wat tbe cBte wHh tM excellent bate, LuM
Btodial, who thoHf k be bad glfn Micb taliifiwtioa ebeirbam,

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THB HARMOmCON;

la 4he character of Oam/ini, >li<J nut pruthire the wimc imprrs-
rfonherer it i« true that Labl.idic ulill fresh in the me-

mory of thr public. After t)ii^ the Tn.irrrili ka% jjivrii, in
which the Sigiiura C-uvcldi ai'ain appeared a« a candidate fur
' fnblic apprnlMtion ; bat with *till ieis tucceu than berure.

TmIm CaMWaiw^Tbe fiiiloirio|r i* the ounpaajr here:
•rtes dnutm, SigMn Fnncetea Fuatemaf|:i ; mnm tmtrt,
sfaiur MucUonni ; Uuti, Sipior BartoliMMo BoUImI^ taA
8$Mr Cario Moocada ; teronile donna, Sipran Aw*!*
Hani, Kui Signora Gaetana Corini ; tecmda teman, CSrio

Thilt which ii the M^-ond court-theatre.
vMl Gsodii't opera of Clotilila. On the oprra billi wm the
fonowio); ann<Minrrinent ; •* Sisrnura FonfeniJ^pfi. per far
cota ertttit uir impreM, in tre ^'iomi hii irnpnralo la sua parte ;"
(the Sijrnora Fonteinajriri, in iirdcr tn nb'icrr the niansirrinent.
has lenrni her part within Ibrur dny-;. ; 'J'lic sriisi'ii;,!:r« .md
jeiluiiues of the sin^in; tribr, nrc greater and mure r>:tra-
onlinary, than thi»c nut versrd in the »-aj» of the ttagt wonld
credit. H'c hail nn instnnre here lately; the former prima
BMgiUi Hcnlliika went krto Mmbc bjntcrin at ow of
mviib, on bearinir that llie JNomfa mom had ii

I introduced

A hoMlifri idr iatft her n»rt. Ctotitda wat fuDoved bjr an old
open of Pacint. Lm SrhUnt di Baadmt, in whk-h a MilaoeM

•inirer. of the name of Fdkiti DaiUon, made her debCkt, but
prodm rd nu g^rcat efliMrt.

Tealvo He. — The cnmpany here it the followini^: prime don-
nf, Sifnora (iirolaina Danlanclli, and Adelaide Comelli Rubini,
(|ir<i[«"rly f'^i nnel, a tcitivc of Franre) ; (tllrt primr donnr,
Sip,'M'>r.> Miiil'I.ili'na .Mfnini, »n<l Carolina \MI;i ; ;tMi/i/ 'r r.-.n /,
Oiuiantii Kubiiii, (iiuxi-ppt* \^^-^l■lK'tli, and (iiai-oirio l{riiu.i-lier,
(a native of \'icnni) ; primo Ijn/fif rantantr, Fiolm H<illirflli ;
frimo hnffo comico, Nicolo liuiisi ; ultra biiffo, Gio. Battiata
di Wtuea. Tha ridioaiom title titreprim* donmr, tte^ it now
oAin «et wMi in ttaly ; U U a term by whicb the Jmprttarip
woald wtih in the first place to (five the puMie aa idea how
rich he it in first-rate gincer*, and in the eecoDd place, to keep
Iko dbtinrtinn hetn-een the firitt and aecond order of «in|ceni
■Mncmarlied and iitrii<in!r; add to thi», that tevenil inferior
s!n|rer« ha'. ino- played the lirst fiddle in rarioui sinall towns,
fancy tliciii''i'K rs prime donne, and refuse tu ^([fn an enffaf e-
ment with manai'crs of larger theatres, itnIeK<> thev are Miffered
to retain tlieir Imniirary name: — mni-v nf v.uiilici '. We open-
ed well, witb t'irnnriKa'n i!rMiiortal [iri»lii(tiijn, // Matrimouio
Setretf), wliii li hus rcceiveil Hith rapt^inms afifilauBC, an<l i« a
proof tJiat the public feel ri)(litJy, if laana^rcni would but alTonl
them pni|ier opportunitie* of ^iTioj^ uttertince to their true
leotimentt. undaaelli, Robini, aiid Baui. all dbtinj^uishcd
theauelvee i* their msHtiw |Mrt^ aid cave tlie true tpirit of
tlua gcnuioe effbeloa « tlw conic aioie oT Mof . Baiii, in par-
tiealar, wm disltnruiihed by marked applause { ka bdong* to
the excellent old icnool of litffl eomiri, which ie BOW beeotoing
raoidlr extinct. After this wc had the usual eounet lervcd up,
EtuaMta wae followed by /( Barbiert, 11 Barhiert by Lt
Ctnerrntolii, La Cenerentola by llaliana in Alf/rri, and so
on, thnmi;!) a kind of iiiii»i<al Iread-niiil. Thus hiivc we,
happj' Mcl.iMrse. been bli'urd willi i iijht operas from the
Rosmniaii nm I'll. iiail In -.viiy "I MiriiftliHiir nriv. \vr hai'C the
aatisfnctiun to bear rbat tliL- next tlayioiie in (he 'i'M(ro Caav-
, is to open with TaHcredi, which will; daoMll^ te fol-
da eqw, by the rest of it* brethren.

From an Indispodliiil whieb happened tn Madame Fodor,
Semiramide could netbegifcn so »u»n as it was expected. The
Neapolitan Oasetia nins ouite wild in the transport of its en-
<huua»m at witaaoiaf the hrst reprtaenution ; it describes the
whole audience as rapt info an ethereal reifion of delight and

fi|rnnutlerabll■,at witne^sinir the triumph of their favourites, and
ng^intr on tbe »svpet BtrAin> th.it flowed like honev fri>iii their
lips. The niiitra-l nt'the Mil.incsc journal, i:i ^peKkiiit; wt' the
same event, i< ijuitc atiiusiuir ; »r- ure there ihoII> ;t»:<iireii tbiit
these two -inLHTS, instead of aildui;'- iii-'iv l.inrels to llieir rruwn,
liad rather kunk in the estiinalion of the pulilici that with
to Fudur, her oowerful rival, the Tosi, was nut only
doiely io her looiitepi, but actually surpaMcd her in

several points of expre slon ind fire, and rncr|;ftic artinf.
The well-known opera of Hicriardu e '/.nrtudr wa» i nnipresiied
into one aet, no very difficult matter, iunl (ilr useil niii< h. The
I'oti sustained the principal character, and is iMiid, by the journal
last 4|uoted, to have surpasaed heraelf ; her eong' is stated to
speak to the kwI, beeauee she fiist feela it U har owo ; <elta ct
fa aeotir lell' aoion U mo caato, perdid il iOBle praaa atlW
prapria.) The writer then heeooiea prefwuid. A pnilaaaphi^
•ays he. mainlains that the endeavour of maa should be to
restrict {riilrimgere) lifie to the few einrle roooieots of perfect
enjo\-ment ; why then is not the same laudable attempt made,
as in tbe instance before us. to abridge the tedious intcrt-ala in
the musical theatre, &'c. ? H'hat a compilation of miiiiieal non-
sense, contradiction, exiraraifanec and t.^l-eh'.iKi, iniifht not be
formed, had any one the leiwire and patience to colieet the
tlieatriral articles of ihc Italian jouriiaU, and more partieularly
the Milan gazette. They are at prevenl iodulriu); in urinter-
ciful tirades afaiust all musical pedants, ana amirapuntie
bliKkhead*. a« they are pleated to term thoee, who think it joit
aawallto ham nAwdaMrtal hnwMn of tlw wiaaiplMaf
theait. Woe lo the wwteh who dWiM Bdl bio their hamfc, ani
■eknowledire bhnself not a wonhlpar at the Pesaruoian shrinet
A Norina. or nine dajv' pnqrar having been decreed in hooew
of St. Gennaro, all the dMaCna were closed durin;; this period.
On their re-openinf , tha JMmco e Faliero of Rossini, which
was new to this place, was fiven, but with the exception of the
well-known quarlett in the second art, did not please, either aa
to ■.inirem or nniKie ; even David wjis hi.i!.ed off lor indult^int^ in
t-.n ur>';it ,1 iiiHii(«'r of fanciful hut ni:»|ihn eil nMil.i(ir-«. .N'eat
bijlou'cd the l-Unithrtta, which ivai nut iinirc tiiv.-ur.iliU received
than the opera juur named. Fodnr iv:i4 tn han' I'een leiisibly
mortilied at the circutustance, a.« it in a f ivourite chamcter of
hers; but tiie Neapolitaaa hare nm yt forgottea tiM uagia
effect produced by Ae aetaof aod siiii;inir of thedidefnii
Madame Colbrun, now Golbnui Roaaini. Neat eaOM tho Mm«
metUvf tbe aane cempeear, in which acope was ifivenlbrtht

fine actiner and sinjfinir of MadiBalialla Unfarj hara^ylaii
nn hen to ho in tmtt raan '

arknowledf^ed by the amateo
prennive and highly drain.itic.

Teatro Fonilo. — This second conrt-lheatre is to (five thir^
representations ; amoni^ which are to be the new opera of Mer«
cail.mte, // Poiletti di Hurgos .- another new opera by Kreutzer;
Ciiiiarosas jl/«/fi's»o»iio Sfinlit: Kussini's liarbiere di Sieig-
lia, and (lUirlielu)i's Amon- •inrr

Teafm Xhovo. — This theatre opened with a new Fann (piece
in one act.) entitled L ' mk v m NoHerna. the music bv • ;irlo
Assenzio. Tbe chief eAet which this oaiArw (spirit, ) nceined to
produce, was a rety inhtlinna net tatmed yawninir. Aeeordinr
to the new prospectnalbrtteeBadaff muBcal rear, there wiU
be 800 rapmantaliuns, toiretber with four new ^ras by Piab*
Raiinoodt DhMiais Gapliardi, Ba^oli. ead GaroUmo Rleii.
The company are as futtowa -.prime donne, Giadnta Oanonici,
Seraphina Robiiii ; primo bnffb Kaoolitun; Gennaro de L<uiio{
primi huff'i Totrani, Giovanni Celli, Giuseppe Faltrinieri,
Gnetanu dc Nicola ; />ri«4 Irnere, I'aolo Ziliuli, Antonio MMi
prima donna Stria, FraneeMa Checeherini. The director of
this thi'.itre is t?ie u eil-known poet, ,\iidrea Le me I'otolu.
The se.v>oii opened with an o|>cra of ('iman«,a, Xinn e Martujfo
(known also by the name of Chi delt al/rui ti trstr rmto li
tpoglitt,) was receired with p reat applause, aiid was excellently
aafifaftad. parllrnlarty the paits ur Canuuici and Luzio. I'hia
la anodier anof that the publie aee perfectir well diepeard a* bo
aatiified with the ancient opana. and would wiUiMto diiftMa
with away of the new onea on eoMtantly yet eoTnelieliwiy
brought before them for their approval. The next piece to bo
produced, is the Matilde Skairnn of Rossini. The celebntcd
siiierer Crescentini has been appointed Ut the situation of ehnf
dirertorof l{iu^'i^|;in the royal conservatory, with a consideretieB
of I»:)diieats, .mil with a houw provided hiin. Zinf arciti, it In
uniliTsliKxi, rt-tircv troiij the direttomhip of this institution. VRt
wfre liiir-^v i,'r;(tihed « itli a viiit from Pufanini, who |pire a
I'lineert, in '.vhieh In- rlispLived, as usual, all the iitnuril wondeat
of his art, niiii int-t ivitii a very warm iind flalterinc reception.

'J"he Stii <>: last, lieii)=- the fc.mt of the p.ilr.ui saint

of this city, was a (fraud court-day, and in the eveuinf thesr

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,TBK ttABlfOMIOOlC

awjertlet, t)i< ^'ton and t\otta of Naples, bonourvd itie thratre
San CmrUt wilh their prcwncp. On thii ocrB»ioii wat ptr-
tmrmei, for the fint tiinc, nn (i|>rra, rntidml Ot Itaiici e gt In-
fHnii the mutic not nnv. hut sflefted fmni the works of the
CJievnlii-r CuTifn. Thuufh lli^»r ^laWirei diMmimii^e the efforta
of riBine' talent, ytl it vould be injustice to deny that there were
many pieiMiiifr thicijfn in the preaeiil aelectioB, asd it obtaitted
ceaMderable applattte. Uia majeatf act tiM naapla of mi-
wrinr leTwai of lh» jiw M . After tiw opera, WMpnrfneedaMW
Mki b7 OM}iir erfU Xleafe |Nmw (Nieole Hw M.) • wme
glW M taai— » wfca parfwi extnorAiMry feutt of twimminfr,
■ad win ti At hm» tt the piece. The perforoHMce wa« full <if
•urprisiiif^ alafe-elKBcta, and the icenerf in the bij^heit dei^e
strikin|r ; indMd. the euperior talent of (floja in thii departmeot
of thi" iitaire i« too well known to np«l any ronimendatloii here.
But wp pAnniit, it iln" !~MUf' liciie, ilitHu-ailde our iorrow at neein^
this 5|n-i iL-B of talent f ni;nin* ilic ntti"ntion of the i>iihlif : or,
to Hj-icnk more properly, the art «f (■noit""'i'i"" ''^'< M\eii
atnonfr tn to lo low an ebb, that this very inferior dfpartnient
of the ita^ hu anumed an iinportanee which it would nut hare
obtained m tlie dajn of • CinMuraan or « PaisieUob A my
it Ihrht begim, fc— »> 4»— mow mn — itati hwilnihww.
Utferttetr, the t M k nM MtW of jW Oeefaie tw BiMm, k
mpMlMl here IVom Berlin In the eoiirse of the aeaton. He in to
f i p i ltoauJ the pendaction of a new opera, upon whicli he ha*
ton aoae Mm oonged, (bunded on the well-known and in-
tertet iB f itarf ^ JmeM de Cwfro, by Canmeni. Thii event
will form a new epoch in mir mii«iea1 historr. and is h«ile<l by
tlie choicn few, who have not bent the knee to Baal, as an
MWj^iow ■men, prmuiiiDfr Utter tlnvK, and • happiier ia£uence

PAI.F.KMO.

Wit are lorry to aay, that the excellent tenori»t Pietro
Voiofneii, of Berpimo, put an end to his extstenre in a
moment of insnnitv ; he hud lonsf been observed to be dronpinp
and neiancltuiy, without nnv apparent catue. He effeeted the
nddndla IhihMHBqf the iiog:er PaaiaiiiiL— IWra Cam/ino.
FMne rflima, Oatarlaa Lipparini, BliialMlte Fitanm ; primi
tentri, Benihia .Wilier, Smfno Oentili; Aaui. Oicminni
Savio, NIeala Taed, Aataalo l^unbwriDi. The aeaaon opened
with PacinP* opera, /' Hamne di Dolithrim. but it did OOt tike.
The laoie fate befell Htmini't/ngannn felice, which wai n|lhecd
by the mure lively Italiana in Algui. Phganioi haa lllO paid
thi« pUee -A vixii, and attuniahcd BB \ttfm tt 4m tMbl kjT U*
ntraordinary peffaraiancea.

BOLOGNA.

Vtopiincipal strenirth of (he roinp.inr here contist* of the
mhm danna, Clclia I'asturi, the teno're, Liuri Sirictti, the
mmi, Ifieala Defrccia, Oiovanni Buttarl, and Oionnni Znni>
Mi. IVfhextra opened with aaoBemataiiariabjrCBfaliere
nipfo dK. emltM JhmUm e Fah a tr . TUa ofara haa
Aa pacnBaiitf of Ininr ila action comaienca at tnn-ie*. m
that the rKater part of the flret act i« in darknest. V^en
theivAm liffat brake forth hi the aecond art. and one was
allowed to lee the scenery, dnesirs and derorations, and altore
all (he fine lifnre of the iirima tlnnna, a lon^ oil ! broke forth
from the audience. 'I'lii" ini.>ir pii«<:('«9en mm h that i« beautiful,
and met with (-onuiiiiM .iMi ,.|i|il.iiise on the fctond and fLillo»-inp
repreoentalions, wln ii iln' il;irkiipis td' tliose nicbt scenes had
been more roodilied, :nid ihc ntiiije t'r»duallv liufhti'd up. Tirii
dnetta, a tersctto, and the rondo of the frima Uontui, nlr.i»ed
much, and wwa lendly oacowd. The CtmertnioUt of Hotaini
foliowed. In «blch Bifoora FMtoii obtained contiderable

Iha Ittfc «r May. 18S8» P. Staidtlaua VaUti. ona of
^■aal hamed profeatort of counterpoint in Italy. He was
bam at Bolnpia. Hit taste for music, and hi* theoretienl know-
ledce of it, procured him the lituations of Pmfrasor of this science
at w Lyeeara of his natal town, chapelmasler of St. Petronio,
•■d perpetaal defimiteur to the Philharmonic Academy. He
was alio a member of the Insiiiiitc of Italy, of that uf France,
and nf other Rtiropran cnnntrjc. He had compoted aerersJ

nieceii of tnMiiii: i n L^ni I'-.nl \,y I heir CWIMtaWa It li t* bt

hoped that they will be puMuhed.

FAMfA.

The opera cdmpnny here is as follows ; prima ihnna, Catherina
Cauta : rr.nlralt" tur tlie pert'nrni.ince of men's characters,
Briffida Liirenriiiii : trmirr, Nicolo 'I'm rhifinrdi ; haui, Luciano
Bianchi, an'l Antonio Desir^i : xfn.n'lr ilonne, Carolina
Franrhini, and ('lementina Lanari ; teeonde Uninrt, Francesco
BiKottini. The first open firen waa / Bmecmmmli di Rmm,
by Oenerali. which mot wm a flifWDiMa raoepdoo. Wa
ought, howerrr, to itataOat lUt «pm baa baas gfenliy in.
prored by the edmpoaer rinea ha Am rap r ai auttti on, anid baa
been antnnented by seren new pieces. The Sipiora Canii waa
very effective in her part, and wa» preeted with very warm ap-
plause. About the middle of tite season Meyerbeer's C'rsWoto
was produced, and made a perfect furore. It had been some
time in prepamtion, and had been (lelayed for the arrival ot the
erand D ictics* ind inurt. .tiiil when at laat produced, »a> per-
formed In a most adniirdhl>- manner, and with ETcit spli-mjour
of decoration, r»f which it in so su^i pplible. .N'.inl'.iii fonipuflcd
a ^ntitd ('antat.1 for the same occasion, which bure an allusion
to the rMiLHiKt personafM pmam PMb flf Iht ««Bpaiiili»
were much admired.

BERGAMO.

That Nestor of ainifera, tba ealebnM OiaeaM Daaidk
father nf Oioranni, the siofsr, who bat aettuirad to andb

fafrie an well in Italy as in Oennanv, appeared with his fitroariM
liolnr Carlotta tiiulieri, in a Musical Accademia giren hefob^
our PhillHinnanic Society. In aplte of his g^at age, he sang
the inafniifieent acena fnmi Mayer's Uitterf Bteunni with a
force and finish that filled all the hearers with astonishment.
H'h.Tt iihme surpriicd and deliirhled the Hudle nri\ u.'t^ to
observe that even irj [t,'(**iii;e« of tlie erealeiil etTori, (ip li \d none
of those uoseenily f;i^]iint'» fur lircilh, iiini niriMiUii e li"_';ivinirs
of the rhest, which arc <d>served in almost all the sinj^ers ut the
present day. In the midst of his greatest animation there was
also a certain ealmneta and telf-possesaion, whkb we mil* in
the first artitta of «ir ttaMt Thr nnitlniinit irai. ai aiaj inilT
be supposed, of lb* naat rtnmy bind, and a fenavil lA
seemed fdt by afl hb towaamen that ha would oeeanonally aUov
his talent* to be beard. He aho luaf a duet with hit malaat
pupiL wUdi im la Ibe faaie itote afltaUHi ptifiinn^
phSata^Miaiwd warn laiy and load.

PADty'A.

7Vo/r» fu Ohittl. — Prime dnnnr. Fanny Ayton, and
Teremi I'in tii : tmore, Stef«no Leiizerini ; and hatti, Luiifi
Picchi nnd (riovanni fiiordaiii. The season opened with .
Mcrrndnnte's Klisa e C'lamlio, which olitalncd a favourable
reception. The only real novelty was a Farta (piece in one
act), entitled L'.HIog/^o miiitara, the mosie by Melchkire
BalM, a Venetian Nubieman: but itcante into the world atU|.batB.

S*eatr» JtTaaaa.— Tba hr ftaiid OrooMa af M a y at t ear
wat pwduta d b^ Oil Oe Fhm dti Kami*, a ftast Md in
h(mour of St. Anthony of pig-preaching notoriety, and made an
impression which we hare not witnesaed for several years,
amidst the dull iinUnrmity of pieces which are literally born hut
to die. The singers Teresa Melae, Carolina Bnssi,' Cestanta
Petralia, Luitn" Mari, and Olorannl Giurdflni, exerted themselves
on this ■MTii.ii. ri id the most praisc-worthv manner, and obtained
their ]ii«tlv-i"nrried meed of applause. A< the fi)ll of the curtain
thev were < .illrd l,>r. und a rniwn of hniicl wi>.^ thmwo mi ttit
Stage, with the name uf Meyerbeer inscribed on it, iu letters
offrid.

nauoiA.

The principal singeffi at A* apaiB ut iMi phea aMbatda*
rfenne, PVaaccsca PesHi, Maria LaaiBnl, aad Pmaeaaea waarf ;
feisore, Oaetano CrivcUi: Aaieo. Nalale VagHa. The a p ana
^twii ware Mofiaadira IMaMa €* ImUm, aol W Om^e
Cftrku^ itCtmumt.

PARIS.

After many delavK ami dispntes, StmiramitU ha* at •> ■
length Ijr^i II |in>dufeJ. An overSowinr bouse rrfctc l Hie re- •
tarn of the heroine ef tlM etMaing, MadaaM Mainviall* Fodyr, .

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THE HARMONIOON.

wbo94> receptiuii wni indeed bf th« mo»t enthiitiastic kind.
Durins the lint art, the upeined to lakixir iinrlcr indispoiition.
as o ell ;f< mxliT ''ifihiirnttiKmrnt, arisini,' no tl'Hiht from the ri»rciit
a)tcrc.iiiiii!« rtiUilicr cri-iit rirnl on tlic Raiiip (m;inls. Iliit aa
•tie aJvnnifd, hlic piiincd tonfiilcnri', iiiid cxrcutwi her hkImoU'i
task, ill u manner wurtliy of the fame she )in<l Iteforc acquired
io thi« r»|)ital, and uf tliv flatlerin; epithet Regina liel Canto,
hj which nhe it knuwii Uinw^bout Italy and Gcnuany. NuthioK
«Mild b« iiHiM lawliw thu llw cowiiatie MuMr w whteh riw
mmff th« grmnd dimia At i io u Bi Mt. with Atue, wherein lUtt
queen and her feneral mitMlljr reproMh each other. This,
toother iritli tlw p rarer lefim Oe nm of her liusband, and,
•MM nil, the Irene or tbe epectav. called forth i rpeated bunts
•fapplmiM. The other performen acquitted thi iniielTrt in a
manner deierrinr of every praise, |HirticiilarlT .Mile. Schiauetti
io tbe arduiHis cnaracter uf Arsac, which all the crilim seem
iinnninKKiH in roniidrrin; as one of the moHt fininhed ;inii bril-
liant lit till' mIihIc iiiri i-. How srrat riiiiHC then Imitb the rrii. M.i«
and :iiliK:ri>rs lit' .M.iil.inif I*iist.T to n'irret that obntinary ivlin h
led liiT III ri'l' isfM) t.i viiur.ihlf .in in i iisiun of :u i| . , 1 1 m; iiihit
iclat, nml at tin- ^:lIlll' time ot s arvini.' the ple.iiiure ot' lla- public,
by esercisia^ hi~r ilivti'ie^iiisheil t.ilent» in thin character. Cun-
aoisMur* were aUo coiivinceiJ by thin reprewntatiun, tliatthe
Mrt «f 4eniifva»i« was but very imperfectly luitcd to Mlltmr
nite*a Tutee. beiag written as high at the part of BtltalMth,
■MhI therefore better adapted tti the cntnpRt* uf that uf Ma<l. FuUor.
^e part uf A/rrao was admirably sustained by Eurdogni.

Of the lousic of this opera su much ha* been laid, that we shall
refrain froio adilinr much more. We mutt, however, obierre,
that it it piiinful to see a mm of Rosnini'* tjilpnt rnpv «o
aerviiely, not only hini>clt, U.i' otln-rs. VMi.it miiri- .i i-ioviii^' than
to »ll and hear a dozen suhjectB ot La Oniia Lailra repeated
with the very thinnest of all dinj^uisen? to be constantly and
fat4£iiinglv reminded diirini,' nearly the whole of the finale uf the
first act, of tike qnintett in Otrilo, an imitation that is pruiooj^fed
till the very appearance uf the spectre of A'iMut. At this point,
there ii a vanatiuo it M lnM| tat ft ii Miy from himself to
PaieieUok and to fire ui « anr tMam the mai^uinGent duo
bf tiW IMM^ fnm hie OtevMi^ " fiomi inm' fiUeir
•MhI* the vhob «f Ae Manme McompaniDient of wUeh U
4nm!mtti to the air of SemirmmitU, " umh tcMi-t/M."

Tllw htrers uf classical music bate alto enjoyed a more than
cmnmiin treat in the reriral of Gluck's Armidr, which it notleia
admirable for the niiuic uf this (reat master, than fur tbe poetry
of Qiiinault, which that iniixic cnforreii anil illustrates. When
the .ibbc Amaild wroti- 1>> (iliK'k, Milirjlinc him to try hia powers
upon thl« drams, lie replied, "I have p*TH*ed and re-peni»ed
the putni tif your f,u<iuritc Quioault, and do you m i-.1i me to
set »urh wordii to muiic ? Why. iny i^ood Iriend, »li»t are sm h
verMt but music already ?" In 1777 G luck compiled Xn* Arm fie,
^uentl/, at tiie age of sixty-three, this prolihc g^enim,
1 willi a deficiency of melody,
I ao naay ewtel un expretaire airs. After a lapse of
Mftjr filiy years, these have Imt none nf their cbannt. but

eat a freshnesa as if brmifht out hut yeitarday. It it true

nusic, like all the arts, or perhaps more than any other,

il ull%ed. uceatiunally, to yield to the capricet uffnuhion ; hue
ilhe fnmA and the beautiful are of all times ; they may, in the
kuids of ta>te, be capable of bonie inir-iiLtir aiinris. but in their
eiaence they are always the same. The powrrtul i tu)rij<.se«wcre ex-
ecuted v%'iili i.|iiril and rorn'ctneiiH, p.irtiiMi.ir.'y that uf the
attcodantu of llair in the first act. on which the energetic
chMMter uf Ghick a sublime ^cniut is to poweifiiilj Stamped.
In Jattice to their taste, we mutt raeotiun the anriwd hoinage
which the pnhlic apuntaiMouilf nnikni to On cotopoMr. The
«rcbe«tni bad acarcel/ ffnMhati the fret bm of the tymjAuoy
tn thi fwiBM ihlt. Aprit dt haint el <te rage, in the famout
•{■eanliiUoa MiMt when the most enthutiastic appiauiet burst
forth thrni eeerr pwt nf the hoote. The decorations of tbe
piece are ma^ineent in the extreme, particularly the gardent of
Armde in tlie second act, and her mairic palace in the third.

Madame Catalan! it at Genoa, where the kin? h»« expressed
ndetire to hear her. She i» to sinjr ai the Court Theatre, then
.praeeed to Florence, where she has pnii>erty.

^Jladunt Shuts, n Oennaa iU(«r. hat performed the part of

Malcolm, In tbe thmna dti Lago, twie«. Her roiec, wlieh
contr'alto, api>cars In want flexibility : she attacks the greateat
■lithcuitief (hat the score ulfer>; but duct out execute tlkem
wilhiiut painful efforts. .She i* meant to succeed Madlle.
Schia<>sciti, and at prenent iitv uuiil be uii Mist to form a decided
opinion of her, as she evideiiily i, under ( le inHiteitce of a timi-
ditr which impedes the true <lovc|u|iini'nt nt lirr taientH.

On Friday night. [Dec. 9tli] alter the last rehearsal ofX^
Dmmt Bluitk*, M. dn Pkericuurt, io presence of all the «rw
flrfet «f a« Of eM . e ew i ftM , preeentod to M. Bweldieu a ruM
box. conlaininf n wwnint fw k ptniiiwi «f twelre hnndred
franc*, to be paid dnrinf hit lib. Mil «f tht finrit toppiied by
Government to the Tbe&tre Pwten. This proof of^ rratitaw
from a Society, to which the-aonar of Jean lU Parit, the Nam-
tieau Seigittur, the CAcjMiwn —mgo, ud Zarmbatt hat fn«
dered to many w re lt to, H n aioit hnonU* meonfafWMat of

lii< re.il.

s'l Tiliiy f Dti . 10th ] I.a Damr blanche, n comic opera in
three ai tx. irntten by M. Srribe. and roiiipuKed by M. lloiclilieu,
wa< performed lor the first tini.'. iiiili the (greatest ^^.-l■e^.>

AI. Vogt, tbe priiiripal haulbois at the Acndvmic Uoj/at de
JUuMiqaa, haa refuted an enipii^roent offered him to perform
in Liindna. He hat nobly cleclared. that he will not Join
a coropnajr in which a character loadiMt with nil lort* of in*
fatny is to have any sway, thowrh but s noaiiHl one. MiHt
this, ye mural people uf Lundon ! — jt, who immolate ao mnf
human beings Ut your sanj^uinary laws, fur the tmallett crimes^
and suffer a gaUrim. the must i;uilty of wretchei.lo mix in.yoor
ialiR)ns, and t*> app. ,<r m yixir public theatres!

M Le C. de L in.rli. ri.iii iiult uttered to M. Spontini the direc-
tion 111 the Oyrrtt Itnlirn, ill tin" phu'O of Si^. il ^rnn mnrttrO,
Rossini, who, it is at last discorcred, thinks more ol lillinif his own
coffers, than of enriehin^ our rcftrrloirrt. M. Spontini. how-
ever, full of gratitude for the favour heaped on bim by tho
Sovereign of Pruaaia, declined <ho ' " ~
to hit appointaenta at Berlin.

i3ramae

KiMO'i Thsatrb.

Tun thntn ma ndearibed to opm e« the last day of the oM
year, tal m* haw wtt lha ai^ilMt belef in the tinceri^ of the
annonneamnt Tha Manialato anoMr tn wiOcii wmMj nf tha
lungast aatoUIAad and beat perfonnera in the u i e h i iit m Iww
t>eoB t w atoJ . in order to make way for a set of boys. wiB donlM-
leea mat with that reproof which it so richly nerita. We ahaH
enUr Aaitter into particulari in our next.

D&uby-Lane TnCATRK.
On Salaiday the S4(h ult., an opera entitled Laocadia, al-
tered from the French of M. Scribe, by Bnrhani liiii is, Ktq.,
who likewise adapted it to the oriifinal music rmiipiMed by
Auber, wat perfonucd for t]ie first time ; and on the following
Monday, for the last. '11>e story itself was the cause uf it«
failure here: — the heroine of the piece has been the victim of
tbe bralal force of her sasng* admirer I— yet, in the en^ iha
Ibrlofa!

Covent-Garden Treatkb
Hat not produced any nuukal nereUy dwlaf the lact OMmth,

Tbe concerts of the PHfLTiAMioine Soeinrr are fixed for

tlie fLilloMiiii? tiiirlilK ; vir. Fi'brii.iry ?7th : March 13th;Apill
3rd and 17th ; May lith. iin l i^'Jth ; and June 18th.

• An account of (bis opeia in omc nexL

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THE

HARMONICON.

No. XXXVm.> FSBBUABT, 18d6.

MEMOIR OF GIOVANNI-BATTISTA PERGOLESI*.

GlttTAM-BAnuTA Pbrooumi wm bont at Caioria,
• IHtle town aboot ten miles from Naples, in 1704.
This exquisite coniptscr lias so tnvicli inlerfsted and
delighted the musical world, that a dry list of his ^vorks
aeems insufficient to satisfy the ciiriosity whidi }ii.s pro-
ductions have excited. I .shHll, thorffnre, lay before my
readers all the information 1 >wis ul)!i' (o lirociiro con-
cerninjt his short life, in my tour through Italy ; nt
which time, though he had been dead upwards of thirty
years, yet I met with several persons, both at Rome and
Naples, |)articularl^ the late Mr. Wiseman and Barbella,
»bo had been peiwoaUjr acqoainted with him, and who
comiOTBicated jlo as many of lha fblkmiq; dram-
stances.

His friends disctn-cring, vcrjearlj in his infancjTi that
he had a disposition lor mnsic, jdaoed kirn in the Can-
torratorio at Kaplat, oaUad JMPomH w GImw ditto
which baa been rinee waf p m m A> Gaelaao Ghceoi, of
whom fbe Italians stOl speak with retrerenea at *«oa>
Inpnntist, presided then oTer that celebrated sdnol.
This judicious master soon {>crcciving uncommon (genius
in his youns; |Kipil, took particular pleasure in facililnting
his slmlit'?. nnd communicalinE; to him all the mysteries
of Iil'^ art The progress whien the youiif; mu.-iiei.ui made
was |>rn|>ortioi«!d to ihc unrommon advantaj^es of nature
and art with which he was fuvoured ; and at a time when
others had scarcely learned the gamut, he pr«)duccd
8{iccimcn<i of liis ahililie<; which would liave done honour
to the first ma.sters in Naples. At the aee of fourteen,
he began to perceive that taste and melodjr were sacri-
icod to the pedantry of Icanu d counterpoint ; and after
vanqabAihnr the necessary difficulties in tlie study of
kannonjr, ragiie, and scientific texture of the parts, he
entreated hv friends to Xake him home, that he might
Indulge his own ftnciai, and write audi music as was
■Mat agreeable to hb iMtnral pcrccptioM anil fedings.

The instant he quitted the oonsenmtorio, he totally
dianged his style, and adopted that of Vinci, of whom
he rcceivi-d lessons in Tocal composition, and of Ha.s.se,
who was then high in favour. And though he so late
entered the course which they were pursuing with such
rapidity, he soon came up with them ; and, takini( the
lead, attained the goal, to which their views were pointed,
before them. With equal simplicity and clearness, he

• FtMB Da. BoaanTa JUNsry «/ Mmth
Tob IT.

seems to have surpanad Uwm bolh fai ptoM and in*

tcrestini; melody.

Hib nnmtrvineti. however, were the last to discover or
allow his su|xTiority, and his first opera, performe<l at
the second theatre of Naples, called Dr> b'lonmliui, met
with but little success. The Frinee of Stigliano, first
equerry to the kiii^ of Nr\pl. s, discovering, however, i;reat
abilities in the young Pergolesi, look him under his pro-
tection ; and from the year 1730 to 17.i l, by his in-
fluence, pracnred employment for him at the Teatro
A'uocol Mt during this period, the chief of his produo
tions were of the comic kind, and in the Neapolitan
dialect, which is unintelligible to the rest of Italy, except
the Sirta Padrona, set for the theatre of San Bartolnmeo,

It «ai not till the year 1735, that an account of hii
merit penelrated as far as Rome, and indined the diree*
loia or the opera there, to engage bbn to cootpota fiir tba
2Vr<fa'fioRa theatre in that d^.

Pergolesi, ambMou of wtitine fiir a better Ibeafre, aa
well as for better perfonners, uan those for which he
had hitherto been employed ; and happy in having the
exquisite poetry of Mctastasi{)'s Olimpiade to set, insti nd
of the Neapolitan jargon, went to work with the zeal and
enthusiasm of a man of genius, animated by bopO, and
ttlowinir with an ardent passi{m fur his art.

Thi' U' mans, however, by some unaccoimtable falalUjT,
received bis opera with roliliicss ; nnd the composor
being a youni; man but little known, they seemed to
want to hie told by others, that his music was excelleilt,
and wodd soon, by the admiration of all Europe, maha
them ashamed of their injustice and want of Uste.

To complete hia mortification at the ill reception of
this OMin, Nemu, oaapned by Dnni. the next that was
brangbtontbeitagft, andfiirwUdi bit was laid aside,
had a very great meoetap

Duni, a rood mnsieian, and a man of tMwbmr, tlioa||h
greatly inferior in gmiiat to BBtfoled, it aaid to hava
been ashamed of the treafmcnt wbkh be bad leedtred i
and with an honest indignation declared* that ba waa
out of nil patience with the Roman public, ^neft'cowwlrt
i7 jiuhlfsii Iliinnanct. I Ic cse!! Irieil, durinj; the short life
of this opera, to make a parly in its favour amoug the
professors and artists, who ^^c^c (.ipiivateil wiili thu
beauty of the music ; but all their cfl'urU wwc vain ; the

time was not yet coma trhaa Jnd(maitt vpA f^dinf vera
toimit«iaitol»T«)r,

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THE UARMONICON.

Ftegoled returned to Naples with the Bmall crop of
Umrels which had been bestowed on him bj professors

an<J j)cr.soiis of la^ic, ivlm ill every omiitrj" compose but
a vc-rv iiieoiLsnlLrfililc p<irt of an audience. He Mr»s,
indeed, extmnrK inortified nt the fate cil' liis opera, and
not niucfi ilisjjijscti lo resume the pen, till the diike of
Matalun, a Neaixditaii HDbleinnii, eiiL;ni>r<l him ( i C 'lJi-
pose a mass and * espcra for the fetiival of a saiitt at
Rome, which «tt1*Mcdflhimtad wilfa dmutmottfliRg-

nifi relic*.

Though Pergolesi had but too much cause to hodim-
lisfied with Komnn decrees, he oould not decline the
dllka^ proposition, and it was on this occasion that he
eompoMd tne Mcus, Dixit, et Laudate, which have been
rinee w often perfonned for the public, and transcribed
fir thecnrhm. They wete head tut the first time in
^ cfavch of Ami Lbumo In iMdna, with general
li^tan itaAltmuy fbingaNld console a man of genins
Ibr awA imworthy treatment aa he had lately experienced
at Rome, it must have be<?n such heartj and unequivocal
approbation as he now received in the same city.

His health, ho^^eve^, dailii uitd \ iMtilv declined. His
friends had perciyved, by his frcqiu'iit ^pittiiii; of blood,
for four or (ive years licfon? tliiii pi?riixl, that he wns
likely to Ikj cut ofT in his prime ; and his malady was
still increiisi'd by this luiil jrmrney to Rome. His first
patron, the Prince of Stigliauo, who bad never rcuLsed to
love and project him, advised him to take a small house
at Torre del Greco, near Naples, on the sea>aide, almost
at the foot of Mount Vesuvius *. It is iangiiwd by the
Neapolitans that persons afflicted with ennnHptiona are
either speedily cored, or killed, in this rftnlko.

Daring big laat sickiieM, ftanolcai onai|impil hii oele<
tatedcnUrtaoT Oi|li«waiidBNidte, and Ua Slabat
mater, af Tane del Otcbd^ lAmm lie «Md to b» to
Nai)les,ftomtlwtotiBe, lolHmllwntiied. HnBSahe
Regina, which is printed in England, was the last of his
{Hmluctions, and he died very soon after it was finished, in
1737, at the a^e nf lliirty-tllrofi !

The instant his deatii nas known nil Itiily inutiifc.stc<l
an ea^er desire to Iic-Tr and |]iis',<-ss liis |iriKliictions, not
excepting; his (irst and most trnial farces and intermeizi;
atid not oidy Iiivers of elLgaiit luusie, and curious collec-
tors el.sewlicre, but even the Ncapolitaii.s themselveti, who
had heard them with indiirerciicc during his life-time,
were now equally solicitouH to tlo justice to the works
and memory of their deceased eimntrymau. Rome, sen-
sible now of its former injustice, as an amtnde konorabie,
had hi-i opera of OUmpiadt letiMd : an hoMar nUdli
had never been done to any composer of the present
centarjr, befim. It was now brought on the stage with
ud thai mdiflhMKawitfca

the iiiMM HMFicaBeB^ ud thi« iadiflhMaeawit&irlMeh
it had boMi keaid buttwo jrcovs bsfcn, wasaowesB-

rated into n^rtWB,
Fergoktt's lint and principal imrtnunsnl was Ac

Tiolin, which was in«ed against turn, by envious rivals,
as a proof that he was unable to compose for voices, if
this objection was ever in force with rcasnnable and
candid judges, it must have been much cufeebled, not only
by the success of Pergolesi in Mneal compositions, but b»
&aocfaini, wiiose princtnal study and practioe, daiing

* Thia bou*e wai >be«o to me in ITTO, lhiitj4hne ;ean sfter
ftSSfii***^** to ba Msa la teaBviraat

Walpole's omnion that Mr. Gray fliit

impsitions of Pergolesi into England.* His

It is Mr.

brought the compositions

opera of Olimpiade was first performed on our stage in
\Hi, when nionticelli acquired uncommon applause in
the air, " Trvnifiidf o^ruri alrni-p," and the seeiie where
the (iri'i varlunte, " Se cejra «• dice" occurs; which,
thriuL^h it Las often been set since to more clnhorute and
artilicial music, its efff< l has ne\er Iweii so iruiy rlra-
luntic ; all oIIrt eotn[K)sitioii5 Im thr/se viords arr laiii,'ind
on the statje, and leave the actor in too tranquil a state
for his situation t.

The wopIn, " iremende (uctiri atrocf," are not Metas-
tasio'h, nor have I over been able to discover whose they
are, or bow they happened to be set by Pergolesi } the
air, however, " A due con," is admirable.

fnnali the informatioo that I was able to procure at
R«BW aad Naples, eoooeraing the prooiatare dealb of
Pergolesi, there does not seen the least foundation Ibr
the story concerninu; his having been poisoned. Tha
disease cd' w hich he dieit v\as a consumption, that preyed
uiiori liis hnie;s diirin-r 'he lo^t five or si.v years of bis ex-
istei.o-. and (he must active and iuijiortant of his life.
As cinv «as suid to have stimulated bis concurrents to
have recourse lo poison, in order to s^cl rid o| mi torroidable
a rival, it has been well observed J, that ilie success of
Pereolesi's productions was never sulliciently brilliant to
render him such an object ol envy to his brethren as to
make it ncce.iisary to dispatch him by unfair means.

The art of music, however, did not die with Pergolesi,
as we ahidl see by the list of bis successors, who pursuing
the tnek whicfa Tiaci, Basse, and Peisolest had fiiat
traced «iitt hmm advanaed into new regiona offimiiMiaaib
taate, graee^ dennoe, and grand elects.

I was ummA at Besae, by « umMm wfto bad
known him peffMNMdHjt that he was a slow wolfaaaa ; bnt
"the gods sell to norlals," says Epichamns, " all that
is great and beautiful, at the price of immense labour
Salvini tclls us, that the celebrated composer, Carissimi,
heiiii; praised for the ^race and ease nf his ini'Ljiiipi.-,
use<l (o cr> out: "Ah! with wlial dilliculty is this ease
acquired | !"

lie had j>erlifi]is ninre enerpy of eenius, and a finer
tact, than any i;( his iiri ilccLs^ors : IVir though no labour
appears in liis productions, even tor the church, where
the parts are thin, and frequently in unison, yet
greater and mure beautiful effects are often produced in

• Ttili" fTiiiii*!!!- po«"l wrm abroad in llic uprin^ of 17S9, and im*
vellinif ihroupii I'rancc, oirivt'd ni Turin in S'on rubi r of the tame
jrcar. lie iliil duI reach Home, howsvw. till April, IT-lti. Is bia
leitera litt onl]> aiivaka of the muaie ha baand in ibat city, and of a
clorious concrit at Naples. Hit laM letter from Italir ii dated froni
Flonatce, April Slit, 1T4I. Mt, Maaon auya that he quitird Tofia
the 19th of Auiiruat,aed faepntoaKMi the Alpa the nest day. Bel
thouRti thorr> in no nu niion luado of Percoloi in Graj^'i letlet" from
lUilj, yil i hai'.' fn nil; heard ftorn Mr. Wnljiolp, Mr. Mason,
and ulhiTs uf UU nioM ialimato (hcnda, that he rc^rded the vocal
compoBitiona of ikia naaler aa au>dela of paffectioa. His Smlvt
Rtfftna waa p«feimad ia Knyhnil. Jaaaaty Mt, 1740} to liiat it
co«U asthaveAaan lMiMi|hl Qiai iate tblacoaMqr bj MbOMr, wha
did aol anhr a la EsflaBAlll the Aapnl orthaifaor.

t Wbae I iaaB<inae«l lUs cfaccaanlana* to Pacchierolii, ia a eoo-
veiMtion on tho tabirct, he vary «eU ap^ied oar Eneliab vu%ar
nbtate to PerjifOtcti, by aaying that, ia aeniB^ tbeae word*, <■ he had
Ultba rif ht nail on the bead."

1 Jl l l t lll tir la rtf ft ls$ ftuw a gi de Prm i l ttI, jwr M. Bvtm,
ll-iiaii it r pow Juitttb 0^9* llL

||'<^Af 9iM«<«/aeil«,4Nan(sidtfitii*i*

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THE RABMONICON.

iM ease mm ■■imhnj «■ i
itjis w«f« MM iaimBd wHk ■

peHbrinanee than are pmmisetl iu the score. And, indeed.
It fiequenllv happpiis, that a score, in which the texture
of the partN is vcrv arliliciai, in^rniinis, and amusing to
the eye, uffunlH nothing but noise and ronfiuiion to the
ear. As the Italians in the sixt<?entli reiilury were the
MMlers to all Europe in elaborate romposition. cv -n to a
pedantic excess, so tbey have been the first, in mo<iern
tines, to abjure its ahMrdity.
Tlw ease and Mu l i p tj tt Tinct's and Ftafoleai's
wiA nffvUHj bj men of no
ilanpliMe in ligbt
hiw fiNiity to an

insipid exeett, mm IwilllJ 9fmk tMM vrorerbially
ftiittsy and ImebH. Of tUi ii—Wl mn LampnrMot,
Pe^cctii. PelcgriM, Giaco— Hi, Wkuni, gihi—

paiii, ami many others.

The ( hurcb musii: of Pprj;olesi has been censured by
his ciiiirilrvman, PaJre Martini, as well as by some
Eii;;li5h musical critics, f<ir ti-xi nnu h luvity of movement,
and u dramatic cast, cyen in some ol his slow airs : while,
on iLl- contrary, Eximeno says, that " he never heard,
and perhaps nev$r shall hear, ucred music, acoompaaied
with inatnMohsi'MlMniedaadNdifiiWt wtfiaSlataf
mater*.

IS tlw MliatH aiCTflied to Pcrgolesi, for two violins
•ad a bun, an gcnalne, which is mnch to be donbtcd, it
nm not cahaan ffaeir worth raflhiontly to make them
ialenitfag to auden ean, aeeastained to the bold and
variod eompoatioaa of BooebwtDi, Hajrda, Vaahal, ttc
Thej are corapoaod bt • ■tjk that ma wool Mt when
Fergolesi bejMn to write; at wUA thae aaotber was
Ibnning by Tartini, Yemcini, and Martini of Milan,
which has been since polished, refined, and enriched
with new melodies, harmonics, modulation, and effects.

Nf) fair and accurate jiidi^mcnt can Hp rurmeil of the
merit uf .i curnj^jser uf pa^l ti'iies, bnt hy inp;irini; his
Works «)th those of his predeeessors and immediate
conijH lit irs. The great progress that has been made in
iiibtniinental music, since the decease of Perj^nlesi, will
nut diminish his reputation, which was not built on pro-
ductions of that kind, but oa vaeai ap oy sitftow, in which
the cleanen, limplidty, tralb, and awa a to eM of expres-
■ioo, justly entitle bisn to aapreawcy over all bis prcde-
CHSon and eoteiaporary rivals, aaid to a niche in the
taMpla af Kaon, awinf Ihe gieat inmratan of the art ;
and, if notlhafiiaader, thenriadpalpoliAeraraitvle
af oonpositioa both fcr the dmreh and staga whidi has
been ooostantly cultivated by his successors^ and which,
at the distance of half a century from the short period in
which he flourished, stiii reigns" throughout Europet.

Foa na

1. Mbm, Kfrte.

8. A Dlilf Dominw.

3. A DoiHinr ad adjunanilam.

A. A Confitebor.

• Wn haro adapted (hit very m%^^<^\\\■ nii'l h.-uiOirnl < iiniiM^b.tion
from (be (core, and printi^d it in the ixewni N'umbci', as Uie twit
ealoKinm <hat we can pouiblr beilav«athesolj{sata(lhBabove
Meiuoir. — F.o. of Ha r m» m te n .

t It •houU b« minHinlsi that Dr. Barney wrote Ms OSMunt
■Mm than toitv 7aawa|0«

iThistiM does net a ppso r la Ot- Bwag's

& A;

7. A Stmiat yfatfr.

8. A Sill r Hrsin'i.

0. Oratorio, Gugiieim»,

Pen THa Tnaana.

1. Ln Sfrea Paiirotm.
a. II Maettn di Mm*St9,
a. Jflefase ssAs nii l H .
4. VOUmgUule.

Foa TBB CjuMssa.

1. Asct«fCmtofitt,prfaitedstft«atfainVS. AuMagst

Ihrsf Id his celebrated Otfit td Buridiee.
S. IVclve Sonatas for two Violias and a Dau, or an

OrcheKtra. (Tlirsc arc doubtfld.)
& Trio, tiro V'iulioii »nd a Bait,

ON Tilt; NATIONAL. SONG. " GOD SAVE THE KING."

two an lap

To the EoiTon of (he Harmonicon.

Sib, — Englishmen, justly proud of their free consti-
tution, bare Dcen accustomed to entertain a profound re-
tatenea in Ibar aovereipi, in wbon tbey eonlemptoto
tfie onBCBtor of iboM laws wfaiA ara ftoMd hjr tbean-

selves, through the ypmtj of ihdr Nnrasentatirei,. —

Hpnf«. no oecaxion or Biai i i Ha ri ng Ibb loyal feeUnp; is

williiit;U rLll iwed to escape ; and as a song is a very good
medium fur the utiernnee of [wipidar sciilimonls, (he sim-
ple strain of " fiod save the King" \vn:- i i;m|i<jsed fur the
purpose, is now adopted in all the liriii<li d'lniinioi'.s, and
may be considered as a ver\ liuppy ih r.:;ht. Ui mu iminc-
diatcly intelligible to every ear, suitalde to every taste,
and therefore readily mid pi'rtecily anpiircd by tlie peo-
ple. Upon the intrinsic excellence of ifiis air, iixlepcn-
dent of Its peculiar appropriateness to tlie national cha-
racter, from its plainness and solidify, there is, I believe,
no difference ol opinion. The sanx' cannot exactly bo
said of the poetry, which, however laudable the aeoti-
BMnt it conveys, certainly ponona no iatomai eridonoa
of Pbfaaniaa origin*

The nMdern dcaoaiinBtion of ■* National Anthem" hat
probably arisen from the frequent and ywy unraaenad
employment of the name of the Deity throughout tba
sonc;. ' This, it ts true, may auj;ment the fervour of the
singer ; but tliere are pious persons who rather revolt at
the freqiKMiI reiteration of ibe su< red name, when local
circumsti:iu-es may diminish that awe and reverenca
which, th y ara cf opinhm, aagbt to ha ftU whenevar it

is proni'iuKeil.

I hcg leave to offer a few animadversions on the ptdilic
performance of this song at our theatres, concerts, Sic ;
together with wme snggestions principally addressed to
those wbo dng it : my aim bang to produce from it a
little more variety of effect than Is usually obtained,
^he aong eonrista of three stantas, and John Bull rarely
filJb to denaad it a aeoMid time, by which the tbrea
itamai ara at onea aagawnted to six. On a royal visit
to the theatre. It la lunuriaUy required, not oaly m Ua
Majesty's entrance, bat ako at bia departure, aad, not
mmequently, betwaen pl» and faiea ; that, by dia fiu^
that aid «K aneoiat awduag Iba ris to twidva, liflaani

Digitized by Google

THE HARMONIOON.

«iidiN4iM|wnibly eighteen repetitiiMMMl one niglt !■
behalf, therefore, of all who find themselves unfccl*-

nately a little short of that genuioe Bidt fedinc iie«et>

sary lo cn rrv I' oin au'rcraWy nn to the eighteenth repeti-
tion, with iiufibfUul arduLir and wjlhont any symptom of
the " Imp (I'nnc iHnine clinsf," 1 lunnbly advocate the
inlu'.ion of a spice of that niiivLT&ally-adinitted charm of
linmri'i lilV- — variety. Tlie (lilTewnt BlOdiS wlBCk Ihis
variety may be obtained, are—
Bctt, by aMD); to f be ab mora or lew of ORiMMirt.

Secondly, liv liftrmoniziii^' it :is ii trio, quartett, &C.
Thirdly, by cbaiigiug the baiiS and the harmonies.

first: The plain, marked dHWMler of tUa air renden it
> inwt uufit luhklu fur ornenntf : U is niM leliilRetioii,

Uaf ia ihli my ia (mmmIIt

lur, ar pMHlfluMi of eedli
portisii of the iIm. BM Ah tar ie « Aid point, and
oott at which must be aiiaij[inJ the jnd^Beiit and ^ood
taste of oar 8in|;ers, I fear, without a single exception ;

for to thf; first notP of it is affixed thr tiann- of (j'od;
and this is cliosen for llui display of ■whatever of orna*
ment is introduced. The odd freaks and fancies, the
" quips and quirks'' that are here t-xhibitpd, I venture to
assert, cannot fail to impress every cunsiderate mind
with the palpable indecorum, not to say protant^ness, of
the combination. The close of the first portion of the
time h prettv certain to be embellished with one of the
following judicious elegances, or with something of • n*
nilar Juod, acoording to tlie absii^ of tlie aiiiger :—

Tbna,

or.

«. 1

r 1

1 ir,r^ .|

-It—

•

fee.

Goo - save. God • - sare. God - - save.

save.

The oorresponding point ai die doM of tbt leeoad I ■ farther aeeoMilatiMi ef anibeOishmenta. The Allew-
pert lakaa plan on •diifaniitiiote» and ia altended with | tngMeAfewflr theniedeitfMtinuMdiate^oooMrtoBe:

And tbna is frittered away, in semiquavers and demise-
miquavers, that sacred name, which can hare no just dig-
nity of utterance but in a single solemn sound. Although,
therefore, iny main purpose, at present, is to promote
variety of effect in our National Anthem, it is olivious,
from till' .il iiv(> rrmnrks, llmt I would fain pr' vail, if pos-
sible, on our polilic .'•iiiij.ers to renounce this mode of pro-
dvcing it.

Secondly : The effect is varied by harmonizing the air
as a trio, ijuartctt, &r. Tliis is u variety already somc-
tinies altcinptcd in the nb.sencc of di<,tingui!>hed solo
Toice?, lo the extent of a trio; but as the parties con-
cerned have seldom previously concerted their trio, each

Es her, or his, own vray ; and thus, although no great
KHiance ii liltely to arise if the orchestra keep ateadilj
to die common bannony, and the singers have toleral>ly
eoReel earn, it will be no effective trio. The trie, owr-
telt, Ite., meat bo purposely prepared by the hand or tbs
anneiaB «f Mie»ie end taate» and then the inlen|enieB
of these with the aob will aibrd an cgreeebte and eztea-
■hre variety.

Thirdly : Variety of etfcct, to an unlimited extent, may

be obtained by a cbani;(' of bass and of h.ii inni'.ies. ^Ve
here advance npon a >^i(io field, indeed, of variety ; and
vvliicli, wi re there abitiiy and disposition amongst our
vocal performers to profit by it, could furnish chaiipe, if
neressarv, to the extent of eighteen tim* s eigliii cii repe-
titions. .Although there is scarcely a mitsician who is
also a composer, (and, ii.dicd, «hat nmsician is not now
m conpoKr?) inm the immortal iketbovea down to

Messrs. B— , and B — , and R — , and I^-, and H — ,
and \V — , and V — , kc. kc., (adapters-general to all the

great publishers,) that ]ia.s not tried his hand at— I had
almost said torture<l — this iitirortuiiiiie lune, in some way
or other, the instances of venturing onl of tlie beaten
track of the common harmony are reiuarkably rare.
Amnnirst the itislnnucntal arrajifjemenls, it iiei'<l hardly
be itated ihal l.'t.-i/ from the hand of the |;re::l mas-
ter above-named is ono of the few. 1 here] are also
some vocal arrangements vthich are entitled to imlice,
especially the solemn opening of Mr. Attwood's Corona-
tion Anthem, on which be has v«^ ingeniously contrived
to engraft this fine air, ami, under cover of a different
measure and a completely distinct harBooy from that
commonly employed, to elude actual discevery till n con-
siderable nnmber of bars have passed. The late Mr.
Webbe^ the odebrated glee-conpMer, coostneted a glee
tar §m Toiees, expressly to esbiUt Mrs. Billington's
mat powers in our National Anthem ; the three sufaer>
oinate toiees performed a perfect trio, which they after-
wards rcptaica while the soprano voice chauntrd " God *
save the Kin<r," forming together an excellent quartelt,
although ill (iiU'i rent measiires, and independent of each
other. Ana daptation of it also as a vt« al quarlett by
Mr. S. \N'ebbe depurts, in its harmony, fnjin the common-
place track, and prmluces a rich and impressive efTeel.

I'or the attainment of this variety, 1 wouM adviie the
manaeers of our theatres, concerts. Sic, to call into ac-
tion the skill of their few really good composers, in order
to pcottide their vocal orcbeslns with a fonn, or aefend

Digiiizea by Google

THE HARMONICON.

ii«f trioiQM'Ifltt, dee., ud an wqik dttversii; of ac-
minent Mr-lhe solo staMM* Ml «iifar varioutia
karmony, bntdioniftTk; the Mioato and light flat**

darionet, kc, for tbe females ; (he itfoog anl at w g et i e
drum, trumpet, &c. for tbe men.

I am tiiiwilliiii; tu conclude, without once more advert-
ing to that point upon which I have roost emphatically
dwelt; and do now most rnrnestly entreat tlie whult'
Tocal corps henceforth lo iorhear ihi; uie of all roiilnJi^s
and erabellishiUL-iilb 'in tliL- sacred naiM'j . f (inu. Every
judicioat singer is aware, that cadences of divi»ion, and

drawn^t shakes *, are by do n««ns essential tadcpuM*
and<Sgai^ofBiaBiier. lflhei«MiH<lie,lMW«fer,aneiB-
baDiiliniant ia llie nag, let H be (nunlencd fivni tbe f nt

lo the Kcond note of tbe cadence-bar which meets the
word »«ve." I will beg to close these remnrks by «ct-

tiii;^ ilmvn one form of trio upon "'in l savi- llic Kii:^',"
not ijrLiumini,' to recommend it for adopliuu, Ijul Mil,iiiit-
liiig it as an cviilcnre timt some change Irmn exactly
the (.irJiuarjf court»e of harmonjf may be einploved, with-
out inTtlviog anjr natoial lacraaM of difficulty to tbe
singer. W. S.

TRIO.— 7VvMr» Tenor, md Bait.

Gcd«TO(RalGM«e otuKJagJ^nslhreoBr ao-bio Kiiv, God wva Um Kiag;

ted Urn Tto.

« ' - nt v», Goi Mf* the Ui^

Uap •pjud (!»• ti -OM^ Loag la

TM fu, Cod MT* ibo Kiag,

nmVAL AT WIEMAB, W nOMOUR OP CdBTBE.

/r nmar, Nottwibtr WL

las. sth of this month being the AfUeth aaaimiaiy ef
Goethe's residence in this plaeei ms cdehvaied with an
aatbasiasm inspired bjr his daneler and talents. For
aiany days prenoas the ladies had been engaged in
fnfariag aafiropriate presents (o mak.- Iiini uu ilu-
aeniloB. Erery thing was arranged 1 :ill,n\s : a pro-
cession was made to his rchidein at tin: lium (.1' nine
in the morning. The parlies met at thf house oICjihh t-
ina^trr I'Jjcrwein, who had prepared a Cinl^ilu i.i
thf Gciuuii i,f the river llm wus introduc-cd, expressing
bis satisfaction in having heen able, so long, to hail upon
his banks tbe faTourite of Afollow Hadune £berwein

sung the fart of the Genius of the llm, and a chorus of
Naiads vat coaipaaed of several ladies of the place.
It was so cairtrivedli that QSethe afaoald be aarceably
aarariaad by thasa soap at the aMNBeot ha q^ted his
bea^cbaaiMr. The aflair was aiaaimed aUntdly, the
singing was excellent, the coraposHkm fnU ef sweetness
and expression, and tbe great aian was not a little
Hatter. (I by the wdl-laraad eoB^aMUt thas deUoatdy

conveyinl.

In the course of the morning a gold medal was sent
to him from the Grand Duke, who had caused it to be

* Ttw lH->t lUiliiin siDj^cn lebloni have mo one to a aiiake. I
■ajr tlii«, not to undenralue tl, as I coniidM' it, it judMowlr
ployed, ■■ an imporiani bMuijr in ■ii»iiit;»— but ouy to ibsw llM
gnee and akfiBca My ba diaflqrsd ladtfaadHil^ of It.

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£6

THE HARMONICON.

struck expressly in celebration of this dny. On one
side wert; portraits of the dnnnr and Grand Duchess, and
on llic otiier one of Goethe. A deputation of the btir-
sesses of tbe town came to offer, as well to himself as to
nis sons and their desoendantB, the freedom of all the
towns within the jinudicllan of the Dnehy. The as-
tembljr tben withdnw, to nalw nlaoe for the Oiand
Bike bioneUI and hit ahatriou nnilj, wbo «fliM to
fi^itata Hw Utotor of Genua lilerMure. In the in-
terval, tbe ceremoTY took place of setting up, in tbe
public library, bis bust, executed in marble by Reuch.
A select company of both sexes assisted on this occa-
-sioii, during whitli were iicrfrtrmed diflerenl pii^ces of
imi>i( , r(.ni|xjsed expressly fnr the (lay. The chancellor
aiiJ tl>> lilirari.in llien each pronounc«'(l a discourse,
aiwlii^ims ifi the event, and afterwards deposited in the
pei!i"-';il of ihe bust, a destriijiioii uf (he ,'r/c, one of tbe
incrliils above-meutioned, and a magnificent edition of

A grand eotertainment was (;iven in the hall of the
toiwa-Meee, wllidk bed been splendidly decorated for
Ike imrpeM. lad imt aowdad, under tM kope of aeenw
Ihe greet object of the inibUe leneretiaii ; lethe did aet
anke bis appearance. ZMe entertainment tne ealiffeafld
bjr a Tariety of pieces «f anHic, sung in honour of tbe
liero of the file. In the evening, he visited the theatre,
hut attempted to conceal himself in a pit box. He
bowever was soon rpcngniscd, and a)>|)laude<l with the
Utmost eiithasiasni. The scene opened with an inci-
dental priiliiaiir, deliver(!d before his bust, which was
cru>Mind with laurel. His Ijihlfjcnia was then given, a
piece which has nut bi-en rLpresented for several year:i.
The llieaire overflowed, and the boxes displayed all the
beaiilv and leading people of Weiroar. 'i'he perfor-
mance uf tbe piece wa.<< arlmirablei and it woji received
with the utmost attention and iateierf. In tbe evening,
all the bouses in and near the aOMW in which Goethe
resides, were illuminated, and tbe Toml band of the
Grand Dnke'a chapel gave him a aeronede, the
<f whieh, bj Hnnrndt wee flf a THj

PRIZE QOBSTION.

Tqe following anaouucenent haa been tent to us from
Amsterdam :—

P«jiKQontnnr,fr8pondbfaePauttliCkM«f the Royal
ludlule of SelfBBM, Ultnliae^ and dw FfaM Ail% af the
kiagdom of the Netlwrlandi.

Tlie follnwin^ Prize QaMtiun haa been propoicd by the abore

clan*: " To «liiit di LTi'i' uf niiisjc;!! tin rit can the Belgian com-
piisfrs uf the 14tli, l.Vli, nnil IClh centuries justly lav claim ;
and wliaf influence li;iil llic artists uf this cmmtry. iluring^ their
•ojourn in Ital)', upuu the muMcal kIhxiIs tltat, thurtlj after this
epoch, were funned in Ital/i"

Tbe premiBm for tke wmtmbl aimrer to tbk quesUoo. thall
be the gaUen madd of the lariiaao, or ks nkia to 90O goOdm
efBelglnmaBef.

Theaanrarouul he tent poet free, on or belbre Oe lit nf
March, ISSfl, to tho Sccrctarj- of tlic Institute, addresscil (o Itic
Kloveniertburvral at Amstprdaui. The composition jnay Ir"
either in Ibe DuUli, OfTjiiau, Kn^li.^lj, Italian, or French
lan^uagea, bat must be Mrritten in the Roman chamcter. Tlic
Estay mtixt be aealed with a motto or seal, anil hare tbe same
abo triUiia tlu envelope, together with the nuae, fuaUtj. and
lertkewiilnv

If, according' to the decbien «f tiie Class, none of the Emva
receired should be adjudfed worthy of the prize, the riasa haa
the pow er of wlUihoMi^tte pcceriaa. aad reierving H for a
'epetMnB ef tke Mne v'l'^ee*

Theemmoajef die amiaancawator toeiaceeMlbl Dineiw

tatioa lA take plM* fas a pobfie Athif efOe ImMote. and be
dedue^ at inll hi oor omi Jeanahi, ■• la Aooe of Am^

eoBBtrim.

Tlie Disseriatiiin fo tho pri'mtnm nhall be adjudifcd

becomes the property of (he Ruy.il [n.stituto; and the author
shall not be allowed to print it without its pe rnii^siun, either as a
whole or in part. The unaucceoful Dissertations shall be
retumeti to their respectire anthon, if required, at the expense
I if the Institute, within a jear after the decisioo. After lUa
term, ilie envelopes, ■■[patare, tic., will be bamt. and aetk en
ho Made of tho a a ui ne crip ia aa too SocM^mMrtMah Hfor.
For too Foerth Chm of tko ofaMidl heUtato,
Jaooa ai Voa Willbmsi,

Perpetual Secretary.

FUHBBAL ORATEOM OfTBR BOSauiL
lWnm»tWrtMktf M. J • *

Foa a kagth of tiaw, endeavonrs have beea made to

conceal from the dilettanti, the mournful, but too cerfala

intelligence, that Rr>s>ini is no more. Dnriflg oeerly

fifteen months, he had shewn no si^iis of life: never-
theless, liis trii'i;ils (■■iiild i.iit piTsuade themselves to
believe that bis iruilady was incurable, but rather ebose
that be should survive him.sdf: and only saw, in hrs dan-
gerous state, a letharjiy, which, al least, left hopes of
recovery. But it is no longer [.erraitted us to doubt: all

that remains for us, ig to (Xiy him the tribute of rwret
and admiration, and to shed tears over -hjl gloiys wBob
was destined to find a tomb in France!

Oh ! how much to be admired is the pbiloflopby of that
andent, wbo wrote a book i^on the advantages ot adiar*
sity ! It wat trhea Phrtae was tmpronitious that the
geaiaa etflhii great coapiMr ahooe ibrtii with ecMt ; it
was then that m b a taioah w i ioag, heard fmn Kapler
to Fetasbacgt earried Ml lenowa over half tbe gbb&
It was tben that, deled with hope, and open to every
illusion, his imagination beame<l forth. It was at that
bappy lime when the imyrtinrio, nieasiirini; nut ^jlury to
him with liberality, and doleinc; out pAtl tn bioi with
frugality, bhut him up in his ro<jni, ami only ulluwed
him to eat in proportion to work dune. He al'terwards,
in England, reape<l a plentiful crop of guineas, and
enjoywl many a hearty laugh at the fashioiuihii'i. Kut
dicl they nut, in that strange country, bring an action
against him, nnd summon him by a tipstaff, to compose
the opera for which be had made a bargain ? As if laws
were made for genius I At length his bright star fixed
him firm in France, tbe true land of milk and honey for
celebrated personages; aad, from its kindoets to all
connected with the aitSp the beet air In Ihe werld ftr
invalided talent. Who codM hate aanaiied ttat hit
stay in Paris, where he was so ftted, would have proved
so fatal to him ? It wa.s when n>posing on the bo.som of
luxury, that he perccivecl the first attacks of his di rise.
The "followins were the chief .sym|itunis : — the sufferer
acquired a f'i irjiuliM.ev uliii.jst .siiiiiTiiaturi;! ; ate with an
aupelito seldom equalled i absoroed much, but produced
to aUlib irat added, amoitol «BiipMl7 to

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THE HARMONIOOIC

Neither the triwuplu of (k* finwiiilt IB—, the

tlw pMlmodbiag af «lw il«MMirir AmuAt. «w« able to
■dtate IkU defiinet inipiialioa. Or all h is eiiga^e-

, be kept but one ; this vu to doniwa ami |K.cket
his money Hiih the mo:,! s<rupulo«u exactitude; and llk<-
the papatiri in L'/laiinna uiA/i/eri, " miui,/i,ir hi-ii, t htn
f/-r/'i; , ' ; I.) eat atul sleep well,') won' tliu Diily luuctiouK
lifi «ai ca|)able of fulfiUui^, 1 le swiii lell into the eternal
sleep! Alas! beholil hat j)r-.sptrit\ achieves !

let eiivy, let all itie jcaluus pasfiioDS, be lileat near fail
tomb. This (^reat mati bad become an adept M teutf I
An excellent player, particularly when he won.

The finesse of M. hSt has been mnch vaunted, for
hsTing kept Frnnott lis jean io ignofwiee of tbe Barbun

— - — — — » — — <m «w «av« •MBWMW M* UMIVI* I

rapf-ment. Wa* it not a truly brilliant slrafageni, to
Uijp the OnM^oi* of Meyerbeer nine months in reliear&nl,
WM then so happily to raise up insurmountable «)t>sinf les
to its performance : — aflerwanls to brins; the composer to
Paris, to ^-ct up his owti work, aud tlit-n concert his lufa-
BUTf's so well, that the piece Mas quite rt-ady foi reprcwu-
talion tbe very «veuiu- iKlore the siiif;cr>i were obiiKed to
dejMirt ? Now some evil-disposed spirit may tell ug, that
muiical genius in not jilways compatible with a talent for
directing ! Those, who have been so fortunate as to «ee
the late Rossini, know what his gooduatmc meant : be
did p^^igjgtf to scrape ukmm^ together, and yet be wM

Only one indiridnal fbond art tht Mad tobis beart,
widwasablelopattbeiMuiynehaidlavibmtMn. The
*«w «M« (aot bte of Ibe Ckaa Ladra) formed with
m • bangraliiinee fif wis and finance. It h a<*8ertf>d
»•» our bero ooald not resist the noble manners d M. Ic
mno, tbe mebxly of his beautiful voice, and. nh.ivo all,
ttecaaiBing bwu of his strong; box. M. le Hnron, in
9fm of big taste for the Austrian and Russian music,
was not less deli-jhted by ihf Italian , he cvi n lyecamo a
scholar of the 31a<istru, whd i.iui^lit Imn the gamut, and
8as{; ravishing duets witli him.

But alas I his strains ha\c tcasf <l —Poor swan of
Fesaro! We must abandon oursehrs t.; despair ; for not
even tfaa clinking of his gold has tbe p>wcr t»

mxusan statb op tub opera nr bislin.

This city possesses two great oftera eetabUshments, tbe

one the Komgluhen OpemUwaier, supported, at lea-st for
the pnsctpal part, by royal muuificeuoe, the ilir» < tor ol
VlUCb tt tbe celebrated ccu^wmt bpontini ; mn\ tU(

— — — — [ziputtiMii ; aim 1U(>

rOfKmufilddUtc/iesTlwoter, which is carrjed on by
• eMUUttaaof gentkuu'n, at their own ri.sk, aiid at tbe
Man or the musictd dL|«rtmeiit of which is M. Steg-
laayer. The latter promises to be a successful spectila-
oon ; no expense Ims betu spared to render it worthy of
tfie pairona4;e ul (he public ; powerful talent haji been
engaged, auJ great ranguificence been displayed in
oostume ami decorations. Tbottgb establubed ooIy
wubintbelMt tw» ;«us, at baTftir labfyaSj

rival af thn lapl wfiWiibnunt. 1 aigbt eater iaio
UMire details of the respectiva naBacament aud economy
of both these houses, but tbe object m ray present inquiry

rather regards the spirit .d' ihese t«o c taliii-.'iriii-i.:--, as
affectinp the interests ul music ; and tu this jioii.t 1 shall,
there ti.re, confine myself.

S|)iinliiii is slreuuusly and laudahlN eiij^nijed in the
attempt to restore a taste for tiie clussic uuisie of the
German Kchool, and to counteract ibe iullueuce of what
is now termed here ' the (orniplion of the South;' and
bis efforts appear to have been, in a great measure^
attended wita success. He has revived three of the
masterpieces of tbe immortal Gluck, and has nude known
bis intention of restoring tbe remainder of tbe later and
mors inishedpfodiKtuM«ftbialn4]r great laaMer. Ha
bag been indelktiaaUa ia altawiing tbe reheafaal* af
these operas, in order to thair bautg performed with per*
feet precision, but, above all, to regulate that upon wbidi
much of the effect of tbix composer's music (lei^Mids, I
mean the true spirit and character of the movements, the
tr.idilion of which has hapjiih been preserved bv some
Innig amateurs. Tbe same unwearied attention has bet;ti
paid to the opera.s of Mozju t, the original .seor< s i>l «hich
he has rrferr<Hj to, in order to uinend or rejet t various
errors and pretended improvements, that had crept into
these immortal productions. All this augurs well for tbe
true interests of the art, and shews, tbat U" good taste haS|
for a season at least, (led from some parts of Europe, sha
still preservcii her sanctuary in the North, to which tha
tme votaries of tbe art wiU look with bope and cen«
fidence. •

With resfMOl la Ibe «lbar«pemeslabli«bBKnt, nndar
tbe superiateadanea of It. Stegmaycr, I am happj ta
say, that the sane i^rit, in part at least, prevails tnere ;
tlie same wish to revive some of those {ireat monuments
of the art, which have long been lurt i d tu i;ive place to
the tlippuiit productions of the dav, and to slumber
amidst the dust of the iliealrical archives. Of this spirit
a pnK»( was ^iveii by the effective manner in vvliir h that
glorious muslerpieee of the (leiiius of L'iniarosu, the //
Malrimituii .Sf-rrlo, was revive^l here. Hut a visible ten-
dency to the Rossinian scIukjI is also remarked. Ia
addition to various works of this master, which but too
much eii)!ros.scd the stage last Heosoii, the present has
opened with the Indiana in AJ^tri. This, one of tba
aioat flimspi- of Rossini's productions, has been brougbt
fiMwafdwitbrniebsplandaarflf egataaia and deeofatiaB»
aad a^pariad bj • boM af tdant; b aoaaeonenee, tbe
boan was aamed wanr nigfat to excess. The jeakosj
of An flval tbeatre, as veil as of tbe patrons of the firman
school, has thus been excited ; nod on this subjeet the
following judicious remarks hdelv appeared in one of our
journal.s. .\iier at kmiw led^iii:: lb ' . trective manner in
which tlie piece vMis proiiuccl. itiiil | >:iv i!);; a jusl coin-
plimeot to tlie r.! ol ihc |i< rl(cmrr>. it adds : ■' lJut the
question is, whether the preseiil suC(.css is tu be ascribed
to the nmsic id' Rossini, or to the interest oviuoed by the
jHihlic ill lavourornn establishment, which [Kissesses all
the charm of novelty, which is conducted with ^rtni spirit
and activity, and which it must be reaaembered is not
under royal patronage, mt sapiMnad by tbe utate, as the
other tbeatre is. To tbesa caam, 4a tbfa intsfst ielt
by the puUic in suppoatiag a a&m aad ardmas awder
taking, are spe to ascribe tfe pesent e rth nsias m , aud ant
to any aaddaa and aaassiaalabis awaaljtisM to the tchanl
afiMri. OlharwiMk wani|fitMM ' ' *

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THE HARMONICON.

the same enthusiasm was not felt uii former occasions,
jvartirulnrly on the production of the Barbiere di Sii if)li(i,
coiifossfdljr the best production of this roaster's pen /
The Utter opera pleased, it is tme ; but when we have
■aid that, we have said all. No : in spite of the aedoc-
tive cbarm and eternal vivacity which mark the greater

Clion of Roarini'a mmic, and oalodated it it to
■lethe mnjt and cheat bj its g^j and brilliaiK^
tboM who ham Mt beat trained in a better adioal, jbI
it i« loo Mid of ■aatiuiwt, of deep and gennine fiding,
and of originalitj, to latiiftr those, whose judgment hu
bem fomed aocoiding to the models of excelleiioe exhi-
bited in the works of a Gluck, and a Mozart. Sncb men
nost first learn that ' hardest scieiK-e,' — to fon?** these
great patterns of all that is beautiful, (iiijiiifii-iK iind f'\-
pressive in the art ; tlipy must Ibrgel all iho noliler ftTects
which music is cn])al(lf of pn)Jucing on the mind, and
the hcnrt ; in a word, they must forppt the preat object
aiul end of every loftier production of art. Now this is
not an easy task, where a high degn^e of mental culture
has been attained. After attentive observation, we feel
certain that much of the feelins manifested is refer-
able to the exertions of the performers ; and it cannot
but be acknowledged that in the music of Rossini our
artists seem particidarljr at home. The truth is, that
there ic a decided nauMarism in bis coBpositioiiSt with
wbicfa when a siager bai beeoMe famUisr. the rest la all
■ ■mXh aadaa q fiwdt. ObNmhnraiBgBnianeeaieens-
tnned to tbe finns of Res^ni'li nmie euaiport tiwawdras.
Thev are all gaiety, all aelivit; ; they do not seem so
mucli t* be performins: a duty to the public, as to be
enjoying and amusing themselves : and the fact is, that
no effort is required where there is no sentiment to be
expressed. Such a disposition on the part of the singers
is amply sulJificiit for giving effect to the Uossininn
music ; for, after all, wlml are Ijis operas, but a kind of
agreeable pastime, a more exalted kind of children's
amusement, comjuired to those compositions, the music of
which is addressed to the uDdcrstauding and the ]>assions 7
Hence, in the performance, all is light and airy, a kind of
ntnsical gossiping, in which each joins without effort ;
Ihqr tiriU and cjuavcr away, delighted with themselves and
the aaaMment l>cfore tbem, lieedieas of the future, of the
general allbet to be produced, of consistency of character
and aitaatiaik Tbe aadienn too are wheedled into equal
good*hHM«r with the p eiB ii nier i : and a person
much eqperisDced in stage allkirs, and wdl vcned in
singing and singers, has assured us, that when perihnnm
are once thnrnui;hly saturated with Rossini's music, they
are scarcely fit for the performance of any other: they
Lave Ik^coijic so accustomed to its forms, that to commit a
new opera of his to memory is no effort ; for it is doing
little else than repeating passages, with which they are
as familiar as household names, a little varied. But
when music really new, and f ull nt scnliracnt and passion,
is placed before tbenit they fly off at a tangent, like schooi-
baysliNinatsak, allar too loBg an inteml of holiday

•* We bafo heard several friends of the art express
Aeir nriaas aftpieheiMioos for the puUie tasl^ last by
eaeitamnls liko tbeso it shoidd heeome p a rml ed and
destroyed ; fl>r, say they, we know of no means more
effectoat for mining it, than by inbuing the public mind
with the products of the Rossinian school. Now, we
freely acknowledge that we oitertaia no such appreben-
mm. BMh n taato aiqr, in fMt, be CMlmd bgr tha

Kijnifjstaditclu's Theater, but we feel confident (hat the
efforts and example of the other great Lyric Theatre will
always serve as a sufficient bias against the evil, and
counteract any undue influence. Melancholy indeed would
it be, if this city, which has so long and so justly prided
itself on being the sanctuary of criticism and good taste,
the abode of classical and intellectnal music, sboald be
doomed all at once to fall a prey to the comptiona of tbo
fioathf The Rossinian music IS not of a nalue to take
vaoltotteaoilof Gomany ; libeaneiotieilmjUoaM
thBnfiiraasasaBaadpiflaiafliecnloai,batitirill efsr
boanaotic Its fveper ooO is Italy; there in all pni>
habiUtj it wiU flonnsh for some space of time ; certaJnly'
till some more vigoroos and healthful plants shall occupy
the ground.

" liut then it may be asked ; Would you have the Ros«
sinian music baniahed from our stage ? Nothing is fai^
ther from our thouphls ; all that we wish is that it should
iiiil ti/u cxi lusiscly (jcf iii>y uiir theatres, to the prejudice
of other more cliissir productions. A\'e are not ignorant
of the duties "liich the din^tor of a theatre has to fulfil
towards tbe public ; and that not the least among them
is to make that public acauainted with all productions of
celebrity, in order that the amatenr, instead of beine
restricted in his views of art, may become familiar wim
its numberless diversities, and lie thns eoablod to fonn a
oomet judgment of the genhis and character of nations,
aaikad in their productions, or in the works w hich they
admire and applaud. But then an cnlishtenc<l judgment
should guide to the choice of those which are best calcu-
lated to fulGl such an object. For it is only a part that
can bo worth knowing, nml ' vcti that part, not so much
frooi a hope that they >'.ill lullil the pretensioiis which a
German puiilic rxj^'tts f'nim a fiiiislicd v^^rk i>f uri. as with
a view to eiiahle us to form a mure ))n^iliv(• h of the
faculties, the feelings, and the cliarrir!! r of tlnci' imtintis.
Another advantage may he derived from the pmductioti
of these works. \\ ilh all their di lVcis as works of art,
they often possess a sprigblline&s and vigour, and breathe
a freshness and life, that are perfect in their particular
spliere, and from the contemplation of which our more
sterling ore may be wrought into more easy and gracefill
forms. From these also a pcactical truth may be learnt,
which may be carried into eflhet in the higher walks of
the art: that no excellency can ho attaiDod aaleas the
artist can take in at one ghuice the whole of his snbject,
and mould and fuhion U with the same ease, that the
Italian end Flraneh couposer doss Us lighter and more
plastic materials. In a word, the stage may be regarded
in tbe light of a kind of national miiseum, in which a
variety of works of art arc exhibited for the arnii-.( ment
and instnictinn of the public. Certainly such acoUection
could not be considered as r.iinjilLio, unless specimens
were exhibited of every dc^n <■ r f excellency in the arts,
in order to enable U> funn a mon- dtn idcd judgment
of the comparative improvement and ingenuity ot different
nations in different periods of time. Bat it would be
preposterous to allow such specimens to occupy an imne«
cessaiy degree of room, to the exclusion of those great
masterpieces which should be allowed to stand promuient
in the more conapicuoas parts of tbe baiUii^."

It is said in the aoofe extiaet, that the music of
Rossini is congenial to thosoft ef llailr ; I might, perhaps,
be allowed to add, ofnneetoo. Bo Ihnited is the true
feeUng for gennine nmile In the latter county, and, with
fci7 WW ei«ei | itiiiii H i le fny^* coU, and i^mlleN to Ibe

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THB HARMOmOON.

of tbe Parisian composers, (twt fhe presence of

Rossini amon^ them canuut out prove an acquisition. Of
ibe prcHluminant taste for classic music let the followini;
serve as a specimen. It is cxirattfil from a popular
journal, which is looked up to ns riii oracle of good taste and
sound critifism^ It was \vritt>'ii on i)cca>iion of the recent
revival of the AmuiU oi <jluck, at the Ac idlmie Roijale
de Musiqtie.

•' As «p are upon the chapter on Ennui, a few words
will naturuUv find a place in this pa;;p. This opera,
irhicb baa kuuc been promi:>ee
aB ifaec B into gentle Klumbers for two hours aod a balf.
It b leallj too ma^, and we fed coipelied to eulaim
vilhllwpoet;

AtuleMianMeMaMi

" Wo have al«ay-. Ih'.mi ailinitrrs nf the admirable
and sublime cimifujsiii.ins nf dlu -k, ami it is ^fr. : nf/y on
this accouiU, lhat shnuld li cl sorry to compruinis".' his
reputation, hy cxpisiiii; upon the scene, at thp present
day, productions ^sliich c innut possibly nppeur Ihnrc with
adfantage. It was formerly imaginrd that th<.- music uf
tbe ibeatre ought to be a faithful imitation of the art of
and it ia acconlioK to tbis false principle
SMmMMd kb eiwm. The

]>ractice is at
I i it H wished, and rightly
» ila eftett by its own

I to an art to which it is
We readily pardon a singer who
UuiTders tbiongli i few nbraaes of recitatifet if m afi«^
wards executes well and effectively tbe air «r dast to
which timt redtativi! is a mere introduction. Tbe
ineasurec is happily no loneer in use ; it was
a kind of uon-de&cript, half song, and half declamation,
•which possessed the advantanes neither of the one nor
of the other. The half of Armidc is « riHun in (bis
niea.surc<l recitative, and it is truly (listn'>,>iiii; to spc
huw our young artists labour uiidor this atrauKi- .'iml nit^-
lancboly psalmody. Tbe basses, which do nothing else
than run ap and down between the intervals, produce
a drowsy monotonous effect, which, like the swelling
and falliae of the wind, soon lull the hearer into the
abnabera befigcc described. Tbe bits of short-cut song
wbicb eecar at nn iatends, and the abundance of
leeilalitre, an coMtaaUj anoojiaf those who have
taea nsedlalislM to the operas coiapaeed aooanliBf to
tbe new systeat. Is a scene strong in actioo and aea-
timeot, it is immediatdy snapped up by this drawling
recitative ; does there come a place in which you are
naturally on the look-out for a duet, jou are sure to find
only a snort, dry coupb t ; a third siluutiaii iiinki's >uu wish
for a trio, and you are treated only with an air ; a fourth
leads you to expect a sesteilo, and the characters walk
off without deigning to give a single imte nf air. Armide
Is eternally at variance with the lasli' of the day, and
the old-fa.shiotk«d, Gothic forms which >ou encounter
every moment, fill you with disgust and impatience. It
Would have been a very easy matter to get rid of these
huDps of plain-song ; but routine is Jeauasof bar fights,
and will not be baited withoat her wig.

<* Mudam bimIcImis kaf a atandoncd tbis oU beaten
tradL NewaadaieiaftliaifaaseoaUMilioMharanni-

T1ww»nvfawh&ft

aM>dcm score'is
V*L. IV.

most noisy instramenls. fin inttnmeni letjdn* bruyant,)
without at all iii!rrr*>rinp y^ilh the voice, which remains
uncr)vered by the mass. Nothing is allowed to encumber
thf march of the raoilern composer; ho li.,'hlens the
ixirulerou-, piissaops of a c-lmrus hy the rapid fijtures of
his orchestra ; iii;d notes, nliitb, at one perio<J, would not
have dare<l be risked, are quietly got rid of by means of
appocgiaturas.

" Ijui little of the music made any powerful impres-
sion ; the air so much spoken of, Notre ^ntral t>ma rap-
pfiUe — Armide, torn m'alks quitter, and the scene in
which Hatred is introduced, with all her ridicnlous devil-
ries, which would be good only bt ehildnnjpievided tbar
did not frighten then, pfodaead na aAet, tbaah a hand-
falorhiredebfMSMrfintliepJtdU tMriMMSt to call
a M a irt iea to than. The part of Arnude is a wretched
affkir; the best singer in the world could make nothing
of it, for it is anti-musical, and all the effects to be pro-
duced dr|«Mid oiilv on dLTlrimiition. The aria hiijf'n in
the jMirt of Uidraot, pass<nl ufT without exciting the hila-
rity of the audience. In a word, tbe representjitioo of
Arntnlr p<>rfrcllv lir€!era, the style of wbkt. It s sais tfa a M ssibliato, is
ol'tentimes ridiculous."

I will not insult the judgment of the reader by at-
taai|iting acoaatent unon all this, as I feel assured that
in la ai Wa g it, be will already have nx>re than anticipated
ai7 vsaark I night baia bad toolbr. One aaiy ob-
sanwtien I wiO awka, wUeh is, OatltwiU easfly be
asSB for whom tbe ealogy in thei paragraph beginniaf
" Modem mnsidans. Sec.," is intended. The itutrument
bruyant, and the faults against the rules of c'infiter|>Tint,
qot rid of in apfniijgialuras, but too pointedly describe
bini. 1 H>;Hiii repeat that the composer here alluded to
is an ac(|uisition to the Parisian puolic ; he is the very
musician of all others the best suited to their (aste.
They had long sighed fur his presence i he is now in the
midst of them, and much good BMJ the fOasaSShNief
such a treasure do then I

OmMAinCT78.'

[To bear all sides, aad to affutxi a chaDoei for the i
tisneTsii opfadoas, if prspsHy eapwisii. sss the datfas af a

woric like this ; we have therefore given insertion to the above
lemarin: which, however, we must adroit, are much prejudiced,
snd not quite consistent. If Rossini's operas produce such
effects, thcrs must be sometliing ia them: if Oluclt's Armid*
InN all Its beanrs to sIsqi,itanslhedulL The Ihel is, that
piirl y-fi clirii; shews itself very utronir in the quMtion of dramatic
music : the uUru-mo^itmi are absurd enough to place lUisiin
•hove Haiarl; aad the afatreis of the latter are
tempted^ in levenge. to deny say nsrit to lbs liriag t
It is as faijuriotts to Rossini to compars Mb whb die great
Oeraaa SMsician, as it is unjust to deny Un the nmk uf u first-
ratogsalM. lie has BMd( a trads <
free witttin tee BMid^ hy ahei
(I'li pil .it Iciist liidf H imfn operai which, as we hsvf rppcsfedly
declared In our pages, gratify every living judge of ntuvt, and
Us none topealti% M ona of At

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Tin. HABMomcoif.

AN IMPOSTOR UNMASKBD.

OTA iMTxam m mx. eioiw. jrix, nametrM^ i
gerji JKUMMX or i

I>. u hMTw't ft, Ik* •outofjcut of Ua."— flam

Sir.

As an eauMOt pnlensr of art intimately con-
Mctod wilb oar domntic and social habiU, jrw ««
•■enable to public opinion; as a stipendiwj MU illill-
eatial ofleer of a pablic establLshmefit, yoa incut rmHi>
nbUliea of a iincial and peculiar nature ; tirtw f oW t
vhalberladdMw nwlf to Dr. Cratah, " Pw ft wo r of
MHie,'' wtelV.Ci«ldi."lM^Mi«rth«Bo9nlAeft.
4aBj«f Mnic isTentofte Stawl.* I4nmw i9alo|]rto
leneecnury either fov Ihcullv «r d» w t m ia r <tf mj
pretent communicatioo. Uy^MmlfaBi will, notwitli.
standing;, be fouml to appljT ta dl the other respectable
pnifi'-^siirs attached to the Instilutiuu over which yon
preside; and for tlic effect of this appeal, 1 fulljr rely
upon the good senM wd MBIMl ^ J«ndf MM

your colk-agues.

Agjeeins;, as I du most heartily, in the high estimate
formed by the public of your talents, and entertaining
wiquali fied respect ftr jmr estinaUe cfaancter in private
Itb, 1 oamwt bat witaow with equal stirprise and regret,
) with which you Kiiffer your name

I* \m fMSHlj aiwditai with one of infamous notoriety.
I uaai a ka to otBeeiM on what prindple, a good, a

rilnriii AmnmA fttm lf r ele-
itowUekyoihavi iMbad, to take snk (be

side of a fdoa, and dKnda pAUe ■ayebttinn with a
villain! I cannot, I repeat, reeoadle the astounding

anotnaly, that the vent rablf proff ssor, ■«lic)So conscien-
tious scruples haw so (n tjuf ntly deprived the public of
the pleasure of seeing him in iheir theatres, sliuuid be-
come so utterly imlifl'en?nt Id all decency, so inst-iisible
to the contamination of an infamous associate, as to
place hinueif before that same public in actual fcllow-
■Up wilb a oOBvicted criminal, and raise doubts as to
the slnceri^ of his professions, by showing that he can at
least bear the contact of crime without flincliing.

There are two reasons. Sir, which hare been faintly
tmred hr some of the apologists — (for defenders be has
•)-4f lb* nbhar attadwl to, in justiioatwa «f the saf-
MW wUcb bMbwa la iaagnaidMralfllr (I mmjf sajr.
■0 diigracefttlly) graatoi Uak If 1 lake up your time,
and consume my own, in ibedlMHSioB of these fioiots, it is
for tbe purpose of showing their faMacj, and ttnUag from
the hand of knavery the crooked prop npoo which it has
been ftllimpd tn Irrm. The first i-;. that having made his
peace with some of the elevated personages upon whom
be committed for}riTy m a neigfaoouring country, be is
tolerated here on nctduut of his professional talent. Of
hi> talent, 1 will sny no more at pn^sent, than that
beyond a certain portion of mechanical i>kill, all is hol-
lowness and qnacsery, and erea his manual exeeulton is
■toongly tinctured with bis eotistitntioaal Csroeitj. Bat
•a the assumed eroand of i'ashionabte faolactioa, the moat
•bnnd (alrthff^T bare heea palmed apos ibe pnblie, for
•dr-«lident purpocea. It ii trae, ceawaljr, thai one or
two lBiaTM|iiri^^ ^gtto^nm

■a towiwito a lbtowwbMiMto,

Ifaekaa** ia a peritiM bmUah disregard ofp^
lie opinion, his own impadence, and your ajpothy, alike
conspired to place him. But does it follow frntn
hence, that the whole ffushionnlile world are to be
libelled, by being claimed as the harboiirers of a fu-
gitive galley-slave .' Can the Duke of Wellington, for
instance, — whose name this man forged in Paris, and yet
has the audacity to foist himself under the very nose of bis
Grace here, — can the Duke, 1 ask, ever view him other-
wise than as a felon who has succeeded in robbing tbe
seaflbid of its due I And yet, because tbe Duke does
not send for a police officer, and order the insolent
wwetch into cailuHj whenever he c w i m i his pMb* bis
Gfaca is slaetlswi bj beinf called Ae patm it a
swindler.

Qn« nomeBt'e refloetiaa, ia Ibis case, will snpplj tbe
place of volumes of argiuientiead I will therefore pursue
It MO farther. But I come now to the point as applicable

to yourself, and, as I have said bi^fore, to all the rest of
tbe retptctaUc niLrnhers of tfiat pnifession, which yovat
once promote nud n lurn. Li-i me risk you, Sir, whether
any influence, however great — any patronage, however
extensive — can justify yon in the association to vhieh vou
hare submitted, and in the compromise of personal cha-
racter and manly dignitv which have necessarily followed.
Suppose the infamous I^bobkrt to have been let loose a
second time upon the world, and the whole nobility of
Borland to have disgraced themselves by taking him under
tbeur especial prolwtioo, would yoa, J ask, even then,
have submitted to be bnegbt before tlie paMfe with biHi
ashisequaleadbiia — iato t Withi ibstfcsBagsweaH

^UMi—t' Jiintlar, Dm. Ckotor; the tototo mtdirMkt
mperinlmimie of Ma. Willi Probebt, farmahi
of Gill'i-^ll Cottage, and lak- of His Majesty's Gaol
of Newgate 1 "

In conclusion, let me apprise yon, that monstrous as
such nil associutioti really wuuld r>p, stariliop; a^; She very
name of it is to vuur correct principles, revolting a'; 1 know
it would be to \oiir pxcelli'tit nature, the public at large see
no great moral difen-nce between tbe pardoned culprit,
and the reaaway fclou. I would also remind you, that
the man whom yoa have suffered to taint your name with
suspicion, and to become a disgrace to the whole body of
professors, is not a mere casual olfcadir} ast ibedoerefa
solitary crime; not the repentant liaMr itikiaf
efler»iifc ef epightoesi sad iu>
dseii: entheesnlranr.bai^i

Henotoab-eni
MMaktodl

our hospitality, poUated oar aa*

08 loaded wMl the infamy of crimes con

country, but ho has violated our laws, imposed upon oer
felli)w-citizeiis, abused
tional iiistiliilions. and
ample to our children.

1 leave these things for your serious cousi 'erafioii, and
to the opinions ami edvioe of yoar friends, amoant
whom, althour^h you kMVMlbrwlMlfeKeCtiKdMHk
will ever be fonod

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TBB HABMONIOON.

t>M J>AMB BLANCHB.

Fob a Ioo^ periwl liavc the public re<rretted M. Boiol-
dim's obstiaate silence and continued abscncL- from th«
scene of his glory. It was with sorr(i« that lliia cham-
pion was sren to reliru in tbe viicour of his R<;e, and
abandon the lists to the triumphs of IVI. Anber. Abundant
are the laurdf that amy yet b<? reaped bj the author of
Lt CaMfty vtBmkmAi, A Jean de Parut and Ma Tante

Whai oaa Imhb cand tha ttM» p i wm i I— >ttrao-
than imriy «■ onmrt Hat «iM imblie

mUcHmw in •uinArtn' ta te bmm taCmd cajoT-
I ? Was the due meed of applaasa withiidd wbm be
(Med his last productions to the jndginefit of an
enlightened pnlilic 7 Ha<: glory lost her charms for one
who had early ranked hiinsell among her most ardent
votaries ? or rather, has not the preinaluro de-sire of
report' paralyzed the f^nius which inspired the then
ambitious Boiddieu with such admirable compositions '
These were questions very generally asked, and askwi
with increasing anxiety.

At length it was heard that this able master had re-
sumed htt lyre, that be was about to renter the career
of noown, and preieat lo hii rindi, as well as his
aiaiNn, a new work, tfn fhrit of fall ba|i|iieit inspira-
tiDOL Even before iu appan i m i, La Dmm blameht bud
gained tbe igpntalioB er Wag a thiif Ttm
uhilMtdiBfir, iilwhailkBailBdi
naooT Ita bemtiat, dedand t>>t "fc W Jtei liad never
befew) been so happy ; that, in fact, be bad sm-passed
bil ftrmer efforts, for that at no period had he produced
a work abounding in more c;racefttl sons, with forms more
new, and combinations more delightful. Success may
be said to have awaited this composition, even before its
apix^araiicp ; in the drawing-room its n'putation was
establislied, and the <luy was expected with ilipHtiCDce
which was to witness its first rep-e»entation.

Seldom has a theatre been better attended, or a more
brilliant display of beauty and Cashion witnaaaed, than
Ibat assembled to do honour to this favourite master's
Kwk, detmuned to rival, if not aorpaaa, the trinmpbs of

» tUa opera • I«Bting dm ta

) in the third act, whiA admiral '

the

a, ire aay aafelv
I in the public fiiTonr. A

• admiraMy executed, us
well as the chorusses by wbidb it »as accompanied
atid sustained, a-- inianimously encored, and followed
by warm and prolonged applause. The name of M.
Boieldicu was distinctly heard amidst this tumult of
approbation ; he was conatraiued to obey the aummons,
and to appear ia |Hm la i waha fbe Hdblfat af a
gralei'ul puolie.

M. Scribe, the •ntbtr of the poetry of tbe pieee, was
dao aamed, hat Wa mrt of tin work was bj no Means
' > tkataf Ua ftWaa lataaui ; many comic aituf
,aa wenaaaewalaBiaaof wit andgaietT

I ibao^gb the |iieea» MaaditeBattaataiM
tber were entitled.
The murnu^ ia aaaadha aT Aa pbt af £b Dmu
lk*fiMarAMaaa,«ia*MHi«iMHitf tta

eqaal to
•aaaa, aa

Sbuuts, was pitw afh eJ aAerflie balde of Odkden. On

retiring into exile, he left to Gaveitoi), hit steward, the

care of his castle, and of a cnnsideroble trea.<ure which
he had amansed and dcvuled id f^^^^wl^l the catise of the
Preteiuler. Thi'j tr'-fisun- «as iijncLuIed by the Lairti in
a staliif railed the U'lui,' l.'ul:/. According to the tradi-
dions of the place, this lady was a benetolent genius
attached to the family of Avenel, and ihf pruti ctreis of tha
property of its exiled members. All tbe clau are staunch
believers in lUa awnaUons individual, who is alBrmed to

have been aaaa
hourhood of the

ly of the villagers in tbe aairii-
Gavcstou haii no laitb ia Wl
who innirai the

mvateriona Mraaaaga who wmrai the Seatdi ■aan-
tainaMMriaaadjm^ dM^ yMt lady ffla l ih i afth

irinA aha eiwehwa over tbe poaa eaii aai ef ikaLaMaf

Avenel, be announeea the aale of tbe caada* which ha

hopea to obtain at a low rate, under tbe aaanrance that
none of the people r.f tho connlry will outbid him, through
dread of drawing upon themselves the vengeance of the
While Lady, the puanlian of the placiv The incredalous
&levtard is itidticed to take this step Irora learning that
thi> laiird has died in exile, and irom knowing that there
IS no heir to the property, no tidings having been heard
of his sou Julien for more than twehre years ptut. Anna,
aa orphan girl, whom Avenel had received under bis roof
thraugh moiivea of charity, and who had been the eon*
panioa of Julien in his intancy, learm the intentiona aC
Gaveston, and wishes to frastraae bis parpoae. It ia ahv^
wha» diagaiaed as the White Ladg, appears in tbe nUa|ew
■ha had fonnerly rendered a aerrice to a person aftan
■MM of JNekaoa* wha^ thiaailk gratitude, » entireiT da>
wlad la lar. JMawritealadm nerson, to repair at
midnighltallw castle of Avenel; but the influence of
fear is atraafcr than that of gratitiode ; Dickson refuses,
but George, a young lieutenant to whom he has shewn
hospitality, offers to repair in his stend to tbe place of
rendezvous. This be accordingly does. TIk- Whiir Lady
appears lo him, and the result of the interview is, that he
learns that be is Nhurtly to see a joun^; maiden whom he
loved, and from whom he received the most generous
assistance after a battle. As to Anna, she recognizes in
George the officer whose life abo had been the meana of
isaving, and tbe iamge and laaaHaodoa af whan hat
haunted her arind ci«r ainoB.

Tbe sale af Ik aaada h ataall ta be carried into eAd ;
Dickson ia a am a w a ia d hy Ae — iglh baa rif ftwaaaa ta
porchaaa it, that it any aal fidl farto OabMidt af dia
folae and adiana Oareaton ; Aana ia by the side of
George, and the latter. In obedieDce to the fbtr vnknown,
iK'comes the purchaser, without having a single shilling
to wake good the purchase. Bat the important moment
arrives when he must either pay or give security for the
same. Anna has discovered the ea.sket containing the
treasure of the house of .\vencl ; she present.? it to
George, appearing in a public manner under tbe disguise
of the WJtiic Lady, and discovers to him the secret of hit
birth. Tbe hardy Gaveston approaches tbe spectre, and
tearing aside her veil, discnvers Anna, his ward. Touched
br tbe aeal of Ibis failhfid pretig^ of hia father, Julien
of ATBoel oAra her hia hand, whieh after I

laoeiTa the beantifU eolaattag and
af M. BoMdiea, to which wa ahaU a^alu bata

MS prepared
reaana daaia

F *

Digiii^ca by Google

TUB HARMONICON.

The Fitzwilliam Music, Aefn^a Collection of Sa-
cred Pieces, telecled fnun Manu$cripU of ludian Com-
posers m the Fitzwilliam Huseum, note for the firtt
time publi.t/ufl htj permistion of the University of Cam-
bridge, bjf ViMC£NT NovELLO. Organist to the
PWifiw bta^j. ToL L (PiMiM fir the
Saior, S/uicktewtlt Ormt, and It he kad at all the
itiuie-fhopt.J

Lord Fitzwilliam* was (ine of the early directors
ol the Concert of Ancient Music, and of the c-^-lehralfNl
Performances in Westminster Abbey. He alu r^^unls
retired into Italy on account of his lii^alih. wh< iici- ]»•
rcluriuNl at the perii>d when it becuniL' emlciit lluit the
French goTcmment meant to lake possession of that
country. During his rc<iidence abroad, h« collected the

Kter part, bot not the whole, of hit books, musical
irjr, works of art, ftc, which be Vwiiwii«hHl to the

University of Cambridge, where thaj ana iwir preserved,
in a Museum bearing bis name, and aMjan^ considert^d
as a velneUe addition to the mm tm* pndaetioas in
liieratMi* nd ail, defoaitad at tt«t vanemUa saatof

Tfan Maib «f lha Universitj, goTemed by the
ipbit which now bcsins to pervade even coUegei, de-
termined not to lock up their newly-acquired treasures

from the public, but, as Mr. Novello acquaints us in his
preface, pa&sed a Grace, " by which a Svndicaic was
imminated, and iuilh.,ri/cd to report concerning; those
manuscripts, and sorue luixle of puhliratitm, if any shouhl
appear fit to be adopted. Upon this, lie (Mr. N.) wrote
to the Syndicate, offering his services and experience, of
■whatever value they might be, in any way the University
might think proper tu u«ie and employ them. The Syn-
dicate at first requested him to examine the manoacripls,
and eive his opinion, as well of the quality of the music,
; of the several modes of publication ; and when he had

so done, (Dr. Clarke Whitfield, the Frofessor of Mwic,
having dadinad l» heaoM the publisher,) it reeonuaand-
adtethaasnata lhat raimiauon shonld ba annlad hte

' daei: whichiw

to foUish saeh parte aa ha

Biendation the senate ado|iited.'

The present work is meant to extend to f ve volumes,
and will be confined to selections from the music of the
Italian school, of which the MSS. in the Fitzwilliam
Museum are exceedingly numerous. There arc, besides,
many German aitd English works, equal both in number
and merit to those of ifaa dass an whkh Mr. N. k be-
stowing his labours

This volume cuntaiuii twelve pieces of sacred music,
for 8, 3, 4, and 5 voices, four of tb^ having orcbeslral
accoanpaniments. The vocal score, and organ, or piano-
ibrte part, an engraved in a large ehaiMtcr: the in-
• 'Tina

• ^iclwcd, Tth VisMost ruswUliam, ol the kisfdoM ol bslaad.

ftr ilM flridnM «r n PomM,*' Kr-.N. modesdj «b-
aama : ant adaqnato to dl lha parpssas of the now-
pliriM nunidan, «r dw cniiaM amdanti «a mmt, in
jostiee to the edilar, aid. Mnad to lha argan nmm-
paniment, aredtMstisns Arttawaef «ba atans, and lha
whole of the litUa parte aiCiJndieiaadjtpiiiitad In lha

G clef.

The piece chosen for the commencement of this work,
and highly deserving of precedency, is a chorus for five
voices, with instruraenlal acti-im pan intents, from the
Dixit DoirunvLt of l>eonardo l^o. it bejfins on the se-
cond part of the Giana Pairi, " Sicut enit in priricipio,"
in a brilliant manner, and ends in a fugue, " Amen," of
two subjects, the first of which is afterwards doubled,
(by the ancient rule of auffmentaium^ and most ablj
treated ; being not merely adsnlMa, hot productive ot
■oat augnifioent eflbct. We annex a few ban of
which may exerdsa lha ii^aity of such «( ear i
as am find «f extotopofa aigan-plajiac.

I r i "

i JJ l J I jH vj

Grandeur ft Aa ehwieleiiitie «f AJa dmcaa, vnited to
a freedom in mdody, not very common in chwdi com-
Dositions at the beginning of the elehteentb century.
Many will here trace a great resemblance to some of
Handel's choral works ; and it seems pretty clear to us
that the one profited by the other : but as tbey were
contemporaries, it would be no easy task to deterarina la
whom the merit of ori(;inality should be awarded.

The secoTuI, " Surgamus eamus," is a Trio, for three
mala voices» by the gentle and elegaat CaiisBisii, tha

uiymzed by Google

TRB HAR]fONIC<»7.

muter of Oeali, of Akanndro Scarlatti, Boooncini, and
BassAni ; and thongh not abiiolntely the iiiTentor of reci-
tative, it is to him that we are indebted for its perfection.
M'ith the pxact time of his birth wt- arc iinacqiiainled,
but be was master of the pontifical chapel in 1009;
many therefore of his compositioni may be ascribcHl to
that period ; though the natural, flowing style of his air,
and the sweetness of Ins harmony, raipht certainly
have led us to suppose that be flourished in the mid-
dle of the last century *. This is a beantifnl specimen
of M» iBveation and tMte, «id we bope will Mon
inl Hi mj» yiUh wrdi, h»» ow ptam «r

Tbe'lUfd, "Chitato JkmOin*' is, VjMr. ITevdlo,
called a tefwUts but, like the former, to part, we
preaume, of a ncMt, and might fairly take Um naaie of
anthem. It is for two sopranos and a baae, composed
by Durante in bis modem style, fdl of animated points,
and rery pleasing in effect.

The next, " In fe Domine speravi," is the hist movr-
meotof a grand MS. Tr Dntm hy Bononcini, — the rival
of Handel, imuiurtaliKxl, not by his own works, but by
the wit of Swift, — with the accompaniment of tnim-
pets, oboes, as well as violins, , composed in a
rerY florid style, with solo parts, in lung divisions, mixed
with the dienN. Thii u oertainijr a very ntiriled |iro-
dnctioo: bat we ahall bna MffalttMy ef tUg iwirter
below.

We DOW come to a deUdoHl^ypMbctic dnet, " Christns
" written for two ■niwwe, \n the nuae Leo
labofe. LiaMMiner,tBei«WH iblw tfce *'8tabat
'of BBHtolnL «hfahita«»lreq«ikiBdaepex-
landacleiiHiMMi^. IliiaieaMVMfadebt^
io the other, the passage in next colanuit mmms ethers,
will show ; but, as in the case before spiAen «C»lao and
Pergolesi flniiri-ihiiijj al t!ip same [mtiVk), itilMtlBOnr
power to saj w liicli ot ihu two i-^ the creditor.

" The grandear of Lao's conception," and the <* dignity
ef Ua it^lek" we Ml readily adaiit; bat we eaaaot g»
s» <br with Mr. N. as to agrees that la these qnaiitiea

** he has probabW never been eaeeeded."

The sixth, " Et incamatus est," is a short, fivf-voiced
movement by the renownpd Pal(".lrina, from a MS mass
in A. minor. The mtKli-ni tritiL- should judge nl ihis com-
poser only by camparison «iih his predetossors and
conferaporaries : his superiority over them is ^n- u, nnd
hy rxposiiip; the puerility of the cntio(i<:, niu! ( tlmr ^cils
by whirVi they attempted to disguise their want of genius,
he saved music from the disgrace of being banished the
church, at the time when the sovereign pontiff, Marcellus
II., had nearly determined on its expulsion from the
sacred service. But his mnsic, placed by the tide of
that • " ■ - - -

in air,
latter,

chief qaditiiM that new leeNUMnd it 'to oar notice, ex-
cept as a aiatteref biilnrieal cnriositj. We however

must not include in this opinion two of \\\% compo.i^itinns
pecserred in the Padre Martini's Sa:jjio di ('< "(tntpu'Uo,
which are <jf a \ try superior order. Mr. Novrllo has
given us a favourable specimen, take it Hlioi^cihtT, <>( this
master; whereof we shall transd r n !< ^ lian, iijlu our
pages; for, doubtless, manv ct unr r -lult f. are wholly
nnacquaiiited with work."; ifnii ^ir - im.'. rarflv found but on
the shelves of what may be cnlleiJ blat-k-li-ttcr musicians.

HI service, uoi nis unstc, placed or ine tide ot
which was prodneed oidy a few years later, is poor
ir, and dry in harmony ; the great simplicity oTthe
r, andi perhaps we may add, its quaintness, are Iha

-<>-

-i >

lu - car - na -

- tus

est -

do Spt

I """I " I n

"Pit

ri - tu

sane

to.

Or-

'■sMa-ii-a

Carissimi now a^ipcars again, in a m^ re gay form than
httore, and quite as lavrly. This is a quartett, " Gande-

*Dc. Aldricb, Dean o(CbriU-(.'hurch, ntoct ikiirull; wfaptcd Ibe
IHlhfhi,** lam wall ylsasid." lo ■ moieti of GMiariiBi : it was a
qmuimmm allhe hue Klac, sad fr«|Mml/ psrfsimMi m tk*

▼to

for

choms, in two allegro
adagio. The beauty and

with

fflnled by a short
■elody, the air

preserved in the snboidiaail* nrti^ and the eomtwaiisa
of the harmon/, weaU lead ttasa wlw are aMoamblod
wilh»iiwraflbdbartMchrt BiMiiiiHa—iSBi, Ibat

Digiiizea by Google

it is of modern growth,
jenrs nlH. A few bars at llwi
an itka of ihe whole >—
AUegro.

l|M><ie g*a-<ie

Omiei t»

Ic - Biui om - nc*, om - net, oin - m*.

^ r [ ' [ 0

k J5

gftu - - dio re - pk- - a

mi - rn

The chord at the astonik mi^lit he improved, and the
bar boKifiinp " (jiaiuico, " is fnuUy in rhjihm. Them:
however arc trivial errors, « here there is to much real
exceUence to cover tbcni; and so much to admire, as is con-
tained in this |nece, is rarrlj found in the same comimss.

The eighth," Sicut erat," for treble, alto, and oase,
with accompaniments of the stringed instruments, is an
ingenious and expressive composition, by the learned
Padre Martini. We here see now deep science may be
■dhested of its gloomj attire, and claa in an engaging
dnis, by the hand of laale. Tbii is an irrmbr fime,
«f tm aubjects, happily oonoehed, and aUjr mned.
W* mp*^ batrink iMm to inart* cbandng HOMaee
tnm OM trio; Ar lAkh «• nut refer ow icadan to
fan *& of the woilt.

^The ninth is a ^on» In four parts, bj Leo, from the
game molett as the first piece in the volume. It is a
fugue of two subjects ; the first led off by the soprano,
on the 6th of ilit> Itpy, and answered hy the base, on the
key-nolc : llii? second given by the alio, on the key-
iiott", ami answered by Ihc tenor on the 4lh below. The
nbnit ia profoMndly aeietttiiic ; bat it deriret a charm
§nm the fimcy of the riyaMr, thai lemiafiiam «o«>ld
arttoit.

tt !• a ihaft, tart very pure and diegMt, piaee of
ban, for llnaa aak vmoes, by
Btiae tiampaaw. Mr. N. gives
J ymi Mt via are iadined to
^ ttl Ibta is fMVs aaH «kfeh Dr. Bpaqr heaid

«t Il«MMi» fa mOt 1^ I

£r1

tba

iMMriaii mi part rf tta TtJDmm notieai
k a eaaoM fa tha adava, ar aaiaon, the

oaly i iic Kwrf iia / of this species of oomposilion that men
of f^entos abonld ever oestow a tbo«if(h( on. It is
clocr, and not vtithout efTeet, but is the least striking
piece in the collecliun. iiononcini, by allempiing; to
rival such a giant as ilandd, was overwhelmed m the
torrent of his op^xincnt's fame. He hai,, however, Icit
some things which, it' they really be- his own, do him
infinite credit; but the atTair of l4>tti's madrifal, wfaicii
Boaoodni cbuawdi bimI was detected
throwi a deabt oa ulialevw baan hia i

Iba tiMMb Mi lart af thaM ia a OMm i><*«'
Oaiitwlihai

fital «ena at aha aola ; tha I
an ilaira chorus. The latter is a short fague, in A
major, written in a masterly manner, and in an on^teslra

would have a snpi rh cfl", ci

The thanks of the jmblic are due, firs! to the University
of Cambridi^c for suffering; thejie admirable specimens oif
the trreat masters io be prinle<l ; next to Mr. Novello for
hnvinn umlrrlalicn ihc task, and for exectitinp it so well.
Ue has, by exercising a bold but laudable discretion,
aaricbcd many parts of his volume by aocnmpaniments
ext
the

of the respeelifa
a little to " ■ *

only : Iba lait, «a baia ■o-doabt, appeals in its
prMnMSlMa. Wa aaanal, BovatMeia, help (
that we now and then iadlb. Have's accomf
tao foil ; particularly in SOMM af fugues, 4bat al
page 4,fbr iastanee, — ^wbere a want of contrast is the i»>
sub of introducing so many notes, before all the voices
have fiwic in, — to nse a tedhnical idirase. The ill effects
of a CHiwded left hand, are to be found in more than one
place 1 hut they are yrry corispicuou-i in the 3rd bar of
page au, whert'. nolwitlistauding (he binds, there are three
virtual fifths in suw^sion. Chords too, in the lower part
of the orsjan, are apt to product! a growlinj; effect, nnlesa
well covered by a jxiwerful orchc-sira. liut it is fair to
stale, that Mr. JV. very sparingly uses Ihe 3rd. in the base:
be cnnfines himself to the 6th.

These are comparatively but trifles, and we gratefalij
acknowledge the pleasure which the present vokiawhai
afforded us: snch woriis convert tfaa tail of eritidiB into
paatine : we sit down to labour, and riia la lagial that
' is dona. O ddetmttdat

— — — J I - —

Ktremely a»nroariale« bnt which were not to be found ia
le original InSS, { Wd has thus been true to the fame

»t though ba wty have
Wa adada 4a Iba organ part

1. Petite Babillarde, a Bhilliant Ro.vuo, fur ike
PiAHO-FoATK, Composrd by i. Mo.sciiEi.iiti. Op,
06. (J. B. Cramer, and Co., £oi, Rfgrnt Strc t.)

s. Sfawmh Roniw, /brsb'lto, Cempoied by the mm*
(Codn and Go., Primett Sbvtt, Hanomr S^are.)

No. 1 ytan slightly noticed in our last uumber. Our
printer was obliged, as we stated, to abridge the (juautity
of matter, and at too late a moment to refer to us.
He therefore omitted the example, and otherwise car>
tailed the MS., which we have now to reptaoe. Thia
rondo shonld have bad a tiila «( amcfa nwre dignitj!
it contains matter MM|g|h li aaba half a doaa «f
ibaaadiaanrkiad: waiaaaa ai la Malby, aqilManlitj*
ftr il mmmt birtaf ■faapagn, n iaftHBaaanlwa
tba flrtt icaMurfcaUefiirHii

Digitized by Google

THB HARM(»nC01!r.

8ft

dty ; the last less Tolatile, bat extrvmely Hcnuiiful. with
a fne muing* tliMirrt base, givistg useful practice
to the hand, and t i wid iic l iig m dUnible effect. The
fitDoving paaage. at page t, is so new in its modaUlion,
sAy awl dunning, that notwithstanding the
fflf whtW ia tbe fitmer artid«,«e '

wis Fooai fiw It.

This is a crtttiposhion for superior peribrneis, to whom
it will alfurd an unusual degree oi satisfaction, if we
maj Judge from our own feelings. But we recommend
it 6 Others, to industrious pnurtitioners, who, whatever
TB— Wialle muaOitj labour it may cost, will be richly
ww a riad if Ibcj can contrive to accomplidi it.

Thu Meond oftlwae new publicationt tj KL Moadte*
Ittt iriU not pma less pleasing than dw nbnn, to ano-
Aer, and periwpt a larger, class of MMi en w. ft is
adiMKms, and exceedingly lirely — it triflei meet agree-
Mj, and morosa mast ob the hearer who will not con-
fess its PiigagiiiK manner; for, li^ht as it is, there are
parts of it ill which thi^ scientific mnsiriaii thnuvs u(T tim
playful masl., and, for a muuciit al a lime, reveals bim-
sflf'. This is sliort, compaiathdj wyi ud mU calcu-
lated for the many.

1, A BnirxiANT RoxDO /or Ae Pi a vo-Forte, com-
pottd by J. P. Pixis. Op^ 84. (Boosey and Co., 28,
Holl> t Sttvet.J

S. Ricordaoia del Craetatnin Bgitin, • Mslamob fir
iMe Pi ANO-Tomn, tf tike tame. Op. ("Pubhih'

td hy tite tame.)

M. Fixis is rising fast into fame. A.1 a co,nposer and
pcrforaaor, bt- lias, hitherto, been better known in Qer-
naay than elsewhere, for till lately be has not travelled,
and hie pwhliwHone have not pessed beyond tbe pre-
nwti ef hie own a w n tij . Of his eit)hty-fmr worka,
n««Mlfes> that bnl ftw'ha.e ( ume into our bandt.bnt
tfaanrof tkeoi am aoMil lo the pwnent Rpnde, ho is

A 4mp knowledge of hia art, and of a niiad taita.

~ Dt it is, and difficult, but expression — the quality
gives to auHic ita anttt fuemaling cham— ia its

principal feature, which ishews iis- lf, even amidkt tbe
most rapid passages and elaborate modulations. This ia
dedicated to Mrs. Uosebeles ; in compliaient therefotOt
to tbe lady, and also ontof respect to the talents el hm
hasband, we may uniiauili that the author has liiiluiwe<
onosaal naiaa in nia pMiont nnidnetioni nhii^h, m MB
safely aann Ifai, nalda UnTintnila MtriM in thli

The Jtemtmbmme* of // Oociato, io the opening of thir

fine onera, tbe air. Nam tai quaJ ineanto, sjmI the aiarch

and cDorus, Ait Armi', combined in tbe form of a
DiYerliinenio of flevpii {>ft«'S, arranged iu n niDSt masSer-
ly manner Inr the piaiio-forte, and with great propriety
dedicated to Madame (?aradori, who did so mnch justice
to tbe pririct|jal female character last season, and who
has lieeti so ungratefully tn-alcd this, by giving the part
not only to aitotbier, but to one who doei aot ill it in i
satiobehny a BMUUMv tn thn 1

1. " Le boo vienx teau," AiB Vame pour ie Fiaj(0>-
I' OR I E, jMMT Fun. KaunBsmsm. (Cmaer and

Co.)

2. A Seciiud DiTSKFtmim fir At Piano-
FoBTE, bjf Uaysbdkr. Op. 38. (Boosey and Co.)

Wk bnve not lately had the happiness to meet with
Tariatioiis so prmd and ix-w a-s those which M. KalL-
brenner hfis nddi'd tu the very beautiful and expre&sive
air which he has adopted as his 'I heme : there i,, a man-
lior in them quite fresh and reviving, and the mana2;i»-
meiit itf the subject shews Ihiil llie uiillior called his best
powers into action in producing his present publication.
The Iiitrodoetiont ^ 'nt page of which is a kind of
Murche ri'ligitHttt ia TOj iHipN8oiv«; and indeed almoct
c\-cry page oontaina loniething mrlhy tba altention of
lb* real connoiaaenr.

H MajaadM'a DhwtiMBln hagtai in that etrH
ataaat poodiar to hiaaeir, which we cannot help calling
—bat not in an oAnaive sense— flippaat ; and this part
compriiOt aome very awkward passages for a ke> e<l in-
strument, though, perhaps, easy enough for the author on
his violin. Tbe latter jMjrtion changes into a movement
« /ri Military, which is more simple ami I'asy ; except a
few leaping chords, a la mode, lor the U-lt band. M.
Mayseder muiit alter his system, and depart from bis man-
nerism, if he means to gain tbe applaiiM of aeher jndga %
and fix bia popalarity <»i a lasting basis.

1. MABCn, /or the Piano-FoRTE, ampated by JJm.
WiixiAM CAajf ABY. (Cramer & Co., SOl, Regetd
StreH.)

9. DiTBBTUiBims Le petit Savonrd, ftr lAt PiAjitf
FoBTn, ^ Jambb Calxib. (ilpaeMme.)

» AoNDO, " Hot craas-biins," /br lAe FiANO-FoBTB,
tmVA an Introdaction, by H. beiite. (Gookiing and
D'Almaine, M, iSMa iS^re.)

No. I is by a compooer wdl known to the lovcff «f
genuine English song,'ibriome very charming uini|ia
sitiona in n alyle tliat to nae the pnnae of oor corr»
spoMienf €un— to noir •fnnfingandor toot," hot will
aoBie day revive, and becomn evan lluyoaaMa. Thn
preoeat eompoaitien ■■ a proef Act Iki Catnahj doaa

• All publi«h«<t in Nomttm XXXJ. am* XXXH. afUris Woik.

ijicjiiizca Ijy Google

THB HARMONICON.

not dbnfartdj abjur', in iiistrum<?rital cx)mp,sition, (he
nodern metbrni, for much of ihis smncks strongly of
Genniinjr ; ami far all the b<.-tler, fur what ojuntry
■o^r i* M|ual to il in any sort of music, that of a military
kind parlicuUrlv ! This is likely to be a popular march ;
portl of it display great taste, and aa il is both easy and
Atmy, it it well conceived for general use.

The second of these should nther haw been called
Le petit Etpagml, being on intitatioa of « Sptttiifa, not a
Savojard dance. It is oxceedingl; eaij.

The op<>ninf;, and parts of No. 3, have merit, but the
v'h«Ii' toi^i-dior assumes an air of importaiici* to which it
has no obvious claim. What connexion can there be
between the title unci the music ? II tin: njiidit is lour. tied
on any cr>, it shuultl lia\L' been su aiinouiicL>l, uud the
common sense of the composer mijjht not hnvc l>een
called iu question : though luch a tilie would »lili have
twen nlher botdeilng oa the ndgv.

1. Select Airs from Spoiir's Faust, arranfi^ for the
PlANO-FoRTK, with an Accompanim(Mit fur the
Flute, ad. lib., by J. F. Bl'rhowks, Book 1.
(Paine and Hopkins, 69, CornhiU.)

9. The favourite CataUnOf ** Giovitietto Cavalier" eom-
poicd by MbyxMKKA* arranged a* a Ditebti-
MBlfTO fir iha PlAHft-POBTB, ig J. C CUITOH.

(Faulkner, 8, Old Bond Stmf.)

Jitt tame-, arranift-d with Variations for do. by TllOB.
Tauuitime. (tionlding atxl D'Aimaine, SO, Soho

4 Amt aadJohaminft OMxUm affitemik omdModtm
M AHCHBS. 4v> /"c AHO-^KTK. Nm. from A

to 9. (Ewer and Co. 2G3, Regent Street.)

The airs from Faust, in the present book, amount to
firar in number, which, considering the laboured manner
in which M. Spohr writes, an as familiarly arranged as
Ihair eonstmclion would ollmr. Vft will not anticipate
whitf we oball bereaAer batw to toy osncemiag thia opera ;
ffcerelbin Wefhr mention this iMMieatioB.

Mr- Clifton has glTen the popolar air in Meyerbeer's
opera with very few alterations from the original ; Just
enough to convert it from a vocal to an instrumental
piece, in which form be has made it appear to as much
adianta^e as such a change uoulil allow. Mr. Valentine
has set out hy clianjjing the time fruiti six-eii;ht lo three-
four; a ihiiin in iisflf of no great cons'^quence, but de-
serving of notice, because ii iiulicates .% want of proper
res|)ect for the juilgincnt ul the iti^iuhI composer, and a
aelf-cunfiJence which reijuires no trilling ability and re-
putation to bear it out. The two first variations are
setter than the last, which quite depart from the cha-
xacter of the air, aitd ore vulgarly common.

The Jive numbers of Ewer antf Johanning's collection,
CBHiaiii marches by Winter and Himmel, a waltz by
lleaut..a nokoaiae hj Kufkier, ami that bj Sfohr, with
the naidi m // Cbefoiv.

1. Canzonet, Rosalie," eompo$td by J. G. GaAcrr ;
t/unDordslty'W.V.CwuMit, {jOkmnHaHdC^H,
Ckiafmdu.)

«. Sono, *• like a VhioB," mM Govtab and Piano-
FoBTB accompanimevtt i Mnlf and a£r iy W. F.
CUABD. {The Mine.)

3. Song, " Till your glasses," melody and words by W-
F. CoLLAao, arranged wdh an aeeomfonimeia bg J,
C. Cumv. (Th»mm*,)

4. SOBO, *• Sitht that speak of Love," uelry iy Ifr. J
Habkbb ; music by J. Pihobr. (Tke soau;}

5. So.vG, " l.oDg suiiiiners haw ■Mledy'* kj A, III
RoCBE. {^J'fie fame.)

Thb flnt of iheae U composed quite en regie, and it tt>
premive, but it wanto aoraty : it may be said tit lUe
canzonet, that the piaao>ftrle part requires an air to ae-
comnany it.

No. 2, in the Irish style, is a very sweet melody. .4fler
the Word •' Ireai!." there should have Im-. n a pause of
sonif kii!(i, ti/ nuikc the sense clear ; tor the same reason
thert' slnailil have been none at the word " heart."

-A liacthanalian 5<vng is rather n rarity in the present
hour; \\c ncilhrr sinj; nor shcrifice so much to the jolly
grid now-a-dayi an formerly. If ever the old custom
should be revived, of quickening the march of the bottle
by means of music. No. 3 may prove a useful publication.

W^e Icnow not what the poet of No. -t will say, when hn
fiiuK the words " breathed" aiid ■' wreathed,"which he uses
Hs innnosyllables, divided by the musician into two long
syllablea» and oocupjrinK tline>fimrtiH of a bar eadi.
What «aa be Ihe MaBNilhat Mig aad ooiMMa ■mwe am
aoofkn at varianoe? The air mnf b pretty enough, and
tbe eoeompeniment simple and well adapted ; bat both
are very common.

The last of these is more elegant than original : the
composer has nad the wwda with atlmilion, bemeke leC
them.

1. DVTT, " Flj to the Ellin Bow'rs," vmtten by MifiS
Barkek ; the mvsie by John Babnett. (Cramer,

Addison, and Beale, 201, Regent Street.)

a. Sowo, " What is Love t" written and amwoied bg
Iketama. (Bgikttame.)

s. Song, " Mayl>qr>" amfoud ly J. A. TAtnr.

(i?y the stime.)

4. Meloiiy, Aflon Water," comi:i<jt-d ami arranged
for the FiAMO-FoBTS, bg W. Watioh. Gow and
Sea, 1«C, JSiyinl SbwI.)

5. Cahmbst, •* Good liye,'» >o w j i M <rf ly W. Aannx.
(Cramer and Co.)

6. Ca>zonet, " Ere tbtw wert false," writl'-n fry G. B.
GiFFABO ; compoKd ^ C. M. Sola. (Paine and

7. Baixad, •* Beantj, aweet* ea J ia ri iM i treanm,"

tpn'eefii fy Ae lame, WNf empead J. J. JoBBi, M«f.

Kac. (The same. J

Mr. BARNii rr has plenty of enterprise to carry him on,
if he bad h\\{ judgment enough to uirect his path. We
suspect that he does not lay aside for awhile bis manu-
scripts, then bring tbem forward again, view them wMi
a cntic'Si rather than a parent's ejre,and carefully correet.
and amend, before he {Ml* bit copy into tbe hands of tbe
e uya wt . lUe it tbe only tine foad to fhme, for tboee
who aie not decidedly Unt with a commanding geniiu :
but it it drcnitous, and therefore seldom pnrsn ecC Tka
duet has some good points, and the synconaiin^ diieoidt
that he uses, — partaking of the good old style— would
pleate us mncb, were Ihey always well managed. The

Digitized by Google

THE HARMONICON.

word ** Chii-o>|^' will nem do: it ici m eonlaH. hui
to deal with m it itmla, WtMd tan bandMbNitfly
treated allogeOKr.

No. a ii • Hoit wbutedair. Ml of ftanr tad iMle.
TlMnhMt iiiiirtB !■ dflfta^aMtoantMNlentpnffia-
wi0tm for flw npMl of Oa ■J o dy . Ik ii way to nog,
•nd within a verj moderate ooBpan.

We tnut that the many foreigner! utonggt oa will not
consider No. 4 as a sncc imcn of ow ■■**—■■* aUky in
oompoaition. In one Dar we have

Furthpr nn we find

^ J • 1^

.t A Jt

wl- -

T " 1 ( — 1

**•

Of tke Terscs we new! not say much ; but certainly no
vocalist can <iupi)Osed to siug this air from booli, when
lie tells us, that he has got a qmtitj of mol* of llricks,

•nd of mortar in his eye :—

" Thi»re (iaily I wander, aa noon ri»e« high,
Mjr flockt and ny Mary's sweet oot in nay eye.'

With such "■Tir"'~l'f^ T ■atwialf blodring up the
i to bib foUMtOM rnnfas hm dio amdn eoau Imtc

If o. 5 is a veiy bewitifUl awlodj to tho Seotiah style,
with an exceUeot aeoooipaiuinait. W« wem to be so
well acqaainted with the general character of the air,
that we cannot help supposing it to be an intentional
Million but we may tm ■HitalwB; od at aU erwtta,

it is worth prisspssing.

No. 6 is cic( idcdly l)i>rrr]Wf'<!, and the loan shoui<1 liaM;
boen acknowledged, for the juissogcs do the original m-
fontor much cre<lit. The air is very pretty.

No. 7 has much dtgance, and nothing to blame,
except a bar too much; for as to the words, yclept

Kry, they are either far abore our comprehension, or
nright nonsense. Why will musicians expose tteir
•It to ndicide, tgr letting notes to wath atirfrt

A CMection of Select Ger.man MEtoDiEa, ar-
ranncd with accompnnimfnls of Piano-forte or Guitar,
fcy MoLLWO and Dkrwoht. (Ewer and Co., Bow-
Church Yard, and 863, Reffeni S&eet)

These three numbers oootam a Duet and a Sooc by
Winter, uid an Air by IfoaMt, nilh EmUsIi wmda added
to the WnmA of the finMr, and t£e ItaUan of the
laMeh The ada|itatioB fa aot, we canjeetu«, made by
M utife dTBnglHBdi fbr both in accent and sense, many
viion ate eomMied : moreover, ve do not think tlie
music itself happfljiileefad.

Vol. IV.

(Cecki and Ook, Mhmt

FLUTE.

1. *< GioTinetto," (nel Crociato) aTec accom]

de Piano, par Tolou.
Street, Hanover Square.)

2. The Faxourite airs in II Croclato ia Egitto, toith ap«
^r||irsal» a^tUiduimUtbjf Ravbau DmsaauB.

3. A Second tPt of Airs from Der
CiiAKLES Saust. (The same.)

H. ToLou gives the subject simply; ^

a little by a few flights of his own, reqniiiag a

rately good flate>player ; and the accompanitt iboaU be
ae t eainr, bat need not be a brilliant pianist.

Ko. t coalains «gfat of the popular awlodies in tbe
opera, given note ftr Mie akMMtima tbeedgiMlr with
a very few prudeaA dMintiQllt*

No. 8 oompletet dm flute amngements of tbe Frel-
whlita by Mr. 8«ut: it eompriaoi detenof tbeain, ia a
TSiy atejF &■■>

VIOLONCELLO.

I. TwelTO Horemcnts teleetedfnm works ^Hay0V,
arrmgedfvr the Violoneelto and PiantfEorie, by II. J.
Banister. (The Editor, too, Gomell Slrcit')

8. Fantasia, on tuo M^jh/'s fmm Dt!r Freischutz, for
tke VioLoNcti.Lo aiul I'l ano-Forte, by W. H.
Hacgabt. (Wessel and Stodart, i , Soho .Square,)

3. PoLACCA, A» Abon Hassan, by Wbber, /«r Two

ViOLONCElxos, by the Same. (The same publishers.)

Eight of the movements from Ilavdn are from his

quarlctt.s ; one from the Canzonet, " ^Iy mother hids,"
and three from his symphonies. In most of them, facility
is the olijptt (if the jjutilisher, who lias shewn '^ond tnste
in his seleeiion, unJ judgment in the arrangement. The
di.nblfiil j^k-issajjos are tinf;ercd, and thus ronduruJ still
more easy. This is a gfxnl wr.rk for Icoriiers. The
accompaniment is simple and jinliriniis.

Nos. s and 8 contain airs that have met with much
public iqiprobation; ibey we sbort, not OW dHlmHi
well finaered, and al

f fbr |iaetioe.

ft^xtvsjx if^ufiical iUports

The Siafcr and the
bb £aa, wUeb is fimnied aa aswiU kanm
fMadtt and dw TUIor. h Ml oT ailwItaDs tt

VIENNA.

A blank hx% necessarily heeu felt here, since the depsrtnre of
the Itali:ui i niniraiiy. Himcrcr, if wo rnntint hare the best of
music, «L' HIT' uctrriiiincd tu .iiii.ifffl, as will be soon by tho
seln-tion made. M. Lanj^, a new aiDdtd>t« for public favour,
luitoined, with great spint» tlM princiaal ebmcter io the comic

open of Der '* — "™— ^

TaisrX TUs
anaedeta it

irresistible droUenr ani) hnmour. It was followed by Dm £«iMrs
lirylager (The Merry \Vcddin|^), in which a new sia^rllnsai

Prcsburjf, of the name of Pioculini, performed (tie prfnctoel
comic character, and jare renenil uitisfactioD Ntxt < .in i^ Im*
fFrihertautch (Thi? Exchanife of Wiw;. ■ piccf in one ae^
from the French id' Ciut-dli. ttK' riiij>« hy Hcrold, in which an
scrcrat lively and rluinxtterintic airs, that pleased much.
When tliLBc iiovi-ltifB cc-ibi-d m intcreit. the public were treated
with their favourite repast, a Fot.pourri, of which the fbllowinr

il,Thi anrtanof Umitit*amMm^

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THE HABMomooatr.

aektfil, RiieUeir. nwll.wtemtSoldkt'aDeputan, Ecturo,
and Re<-«mp«ti(i>), eMMiiliBtflr K nhc fiiw i «if sin adaiMl to the

•nbifrt fiwn TArimw rompoHTs.

karnthnrrthor Th' nl ! ■ . — I In' prim ipal timvcIit biin tirf n a
lively piece in one act. eniuleil /;•> Sitlft n Mti'lclini in I'nifonu
(Til' S jv Ml f;irls in riiiriiriii,) t.il>en tViitn llic Frcii<h of Anselv,
which i< hliclv t.« he ii tninuriie, fur n ;vi]t iif bptirr mutter. It
w«« followed l>v Itiiialdo tt Afti, a irrnnfl ballet in two acts, by
Qioja ; the miuic by Gyrowetz. 'i'his ii a very wtMWj pieca,
ami wu w«ll cat up. After tbw we bad BMNhar «■«■»
fronitlielniKKorLeoDde St.LuUD,;iiti(]edDir^%nMi
.X*eM«l«r (Hw Metamnvhoied Lomr). TUi wu a &iry
tale of MOM iattivflt, wMi abundanca of dcentatiaa. ma-
^nery, dances, tituxiloii!), r<j<!tuinr, ttc; but unfortunately
Iiadittkein theibajie nfpleitsin; melody. After thl« canie the
fiivourite opera of Nicobs La Lottrrie, whieh is al«'»y« heartl
vritli pleHsure, and in w hich our faroiirite Mnfrer&, Maul. Orun-
b»uui anil Mile. Suntng;, hbone tu great ailvunta)[^e, partH ularly
the latter, who pave the masterly air. " Xoh, je ne vfujc j,<is
chanter," with irreat npirit anil rlfcrt. This air is eonsideritl
as the freat liuu hstime of a iini't r'.* poHcr. Then wc had
another couiic opera fruiu tlve Frem h, in one act, the muuc by
Knclbneiiter Olji»er. ThU afforded ac«pc fur the admirable
*amg of MUe. Hcckcmuuu], aiiJ can boait of loiiie very
floMB

Tha

WtSfH laa bean employed in

moaeUac Us ptcatm^ operetta, /f
■ud to fim • - • •

and

. fai adMTIa U

lairudueed tcrcnil new aifa. Ha ia ih a rtl y to
proceed to Or&a. where he ia to lupeiiiitand tte opera leason,
vUchii toopen with Ok |iiaea.

na weD-lcnawn Abb< OeBad^ to wftaai wa aaa indebtad fur
aaten! maeterly prodoctiew Ibr A* pi a wMi M te , aa well u for
laany eleji^ant rariatiuas, a tpeciea ttfcumposition which he may
be taid to have, in a preaf measure, rescued from the contempt
into which it had fiillni, bus f|iiit)ily fullum-il liis friem! S.ilirri
to that boiiriie, ulienrc no traveller — or rautician — returns.
He piii<<L-<i tilt' iaiicr ) cars uf nis lifig la Aa rftaatkM af diMettic
chaplain to flic Prince F-,!. rli,i/v.

Tlte celebrated virtue- , I'mressor fiayr, ha« at Iea?th so
well sni-reoiIiNl in Ms i ly -ilj.Hovored method of producing
double ti.:ii H fri)iii il;i- iliiic, ns to be able to effect the uunc
thruuc^h ill 1 1 lie »i nli'>. Hcik c, nn a common in?tTument, he ran, in
accumpaininL', |ir<'iliii i' very . Iciic, full, and distinct thirds,
fourthn, tilths, and sixth*. .\s ivc \inderstiiiid that thi-i able
artist intends shortly to present the nui«ical un-I i will, n ticm-
aeriei of iaatnictMiM fur the ftute, of which Bcrrnd amateurs,
wko haw baaa iodalgad with a lif ht of the work, speak in the
hfaAtattorau, wa tniak ttalttatesalt of hit ingeniou* reiearchea
wul not Mmain a eacnt to the wwid. That much appear*
certain, ftooii the inbmmtioa wa hira received, that this
pkawMBeMBia not affected by tha aelliNi aC • daaMa t«i%ite.

BERLIN.

Ko'iiglielu.t O/ierntkeaJer. — Siooe the praductioa of Alcid«r,
no utlwr novelty has appeared upon thin itag^e. nr.d wc hare
been cdiiteat t« hear tlu« up«ra interehanfcd «ith sinno uf the
produetions of the older M'boul. W't have, tlh-rcforc. had the
Sncnfirio inlerrotio (The ititcrruplcd Siurilln I ci Winter,
D^KkotU Schustrrin Tlv Fair Sislerb.) and flir liriUrrinttt

Sty Idand uf SpiritBj. 'l"he iattfr uprris ar..' t.>n kinnu
reqidfcaiiy rouiark, except it be to «a> that they were admirahlv
perfonned W, howerar. BMented a mmeltir.the antkipatiuii
of which (ilU aU Uit io«w of the geaaiae anmcal drama with
delight. Auryanrte i> ««hc tritrea here, aad the neat favoarileof
the public, Karl Mana voo Weber, b tooonie Md aaperinla^ to
prod4>ctiun. Wc have atudied the aiuac of thia piece wlA
attenliaa. and from iu very grert merit, we feel aauired. that if
Jtlailcd to fradaca tha aivMiad aftctat Vk^jM mt «f

Ma sat havlaf been jodicSonaijr
rat up. We anticipate laach fraai tlie taient of tite perfvmMia
here, a« well at from the tound and unbiaucd iudfiaent «f tlia
musical public of thia place, which, we are proud to ai^ijiddt to

that iif nn eitT In Europe.

K'tF»ii;\tadtsekrii Tlteat^. — A new era has comraeneed
here. 'iTje addition of talent fhi^ 5 1'lr, both on tb^' stare
and in the urfbestra, it rery ronKide ruble ; and in all r-'spei l«,
thi^ t'¥t;il>li»liiiK«it Iwi exreedetl every expt'i tati.m th it cnidd
rc iMinatili Iwve been foruieii, con»ider»nif tliat it m n ([>crulatioa
(if indiv iilii.ils uiiashislcd by the X'lvernmenl. The admirable
manner in which DittcrMlorf'B jiuirited opera Der ftokler und
Aitothekrr, the B m M mrt di JSMgUm of RoaMnit and ahaea al*
tlie very elfectire ww in «Aidi the MatruMmi* tmko af
CfaaaiaiiL wen biaant forward lant aeaton, ( the ii
«Im attaUhhaMnt of nia tecood lyric theatre,) at t
the attention uf tl»e pubBr, and etniired their patronage. Tha
iotercat thus excited, haj been auipoettted this waaun by thepiw*
ductiun of the /laftaM im A^m of RoaiiaL Thia oaen ma
given with L'^rcat iiiuettaii aii< aflri^aaA aa f toitoii by vwy
poweifol takat.

MUNICH.

Our Gern)aii tln'^itrc has lately produced two noveltien. thoo^
neither orisjiiially written for the (ierraan stage. The flnt
entitled Conttantint, waa originally produced at the tlieatra
Fenice in Venice, and obtained conaiderable lueceas. It ia
froin the mb of KapeUmebter and Opera-direchir Stiint% m
natiTe of IMS etty. Tlie noem waa, of eounc, originally in Om
Italian hinguan, and had to be tfaaabted fcr our alage. But
tinhappily it fell into wat wodui handa, and it la rendered a
perfect piece of bombaa^aa that, in apite of the merit of the
inu«ic, it was Koutcd bylfaa food taate of (he public. We are
antimished how the e«mpo«er could have lent bis baud to hie
own ruin in adapting his muaic to inch a mas* of ah>>iirdity.

The wcond novelty at the German theatre bin* brcn Lrocarlie,
the iniisii hy Aul.i-r, wliusc npcni />a iVri'^e ha« already made
biii name fiiniiliiir here. In the pre^ent invtiiuce, tin: tran'^lator
and adapter of the Ger:nan wurds li;is lii i'n succcbful in a task,
which is attended with no common dithi-ulties, and fur which but
little allawa»Bi ii made by the public Some iaipatlat amn
we however notioed, inch aa aiaking the aiagera nta reniadii
and cadences on the diphtbtmga ee and aa, which had a «aiy
disagreeable, not to say ludicrous eCTeet. With respect to the
music of this opera, it is much in the same style ns this com-
poser's former work ; if there is not much to commend highly,
there is als<i little to blame ; mune of tlic airs are pleasing, and
several of tlie cmnliitied piices pimsess a merit far above the
rimimoti. 'I 'be prim i pal i banu ler was admirably sustained by
Mad. Vesjicrmaii, svhiise Btyle of ^i[l^in^' and acting is equally
eiilitied to prai.ve. It ifivei. ua pleasure to remark at this theatre
a hiudahle disji.ibilinn t') fct rid uf various mediocre composi*
tions, which have licld their place there for years, as it were by
a land of pieicriptire right Br the by, 'thia is an ezampw
which alight be pniifitably followed by many oAer Aeatrei, who*
aerenl peoaa wM ftalrcMaalt nerely, wepretnme, btaaat
(hey pteiMcd the taato or ear Mod graMWrea, and are fat om*

(hey pteined the taato or ear good gra

sequence presened by their dutiful descendaota. Tbe
season has been rcudercj memorable by the prodactlon of aaM
but pieces of acknuwlcdged excellence, tlie merit of which
depends upon nothing of^a temporary or local nature. Our
season ujiened witli La Hlolinara of Paisiellu, tlian which it ia
rfcktiuwicdsfeil none was ever better adaptivl to ( rtrnian worde^
aud which should be the model fur Ihuw who undertake similar
t;u',ks. Thii beautiful produrtiua was fulluwrd by Jrun da
Paris, IHr Pririctsxin van Provence, La Xeigt, La Fatitt
Die Schwi iier fiiniillr. Die EntfuhruHg QH* dtm Serail of
Muiart, w kich was performed wiA giaat cb aa t aae a i and atnri^
and. hMtly, Dtr FreitekHU, wMl MW W y aad decantiw^
which far aarpaasetin i ple n daaf tha aachat a— tha i wia a act
iBped in the fire at lhackae af hut aeaioa.

The Italian opera Iwre haa been partieularly aooeeuful thia
ieaaon, and it is but Justice to acknowietlge that diis succesa haa
been owing not less to theaoperior attractions of Mad. Laland^
both ai a ungar aod aa actna^ tteatothe jwdkioaa lelectiMi

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THE HABMONICON.

wmU j ui n, II Do* CMiaMiM^ optMd tta oainifn. la

one or two of tbe fint repretenUtion*. tiiiiw of tfbe i&gm were
■o injiidirioui «t to atleinpl to intraduee ornnmenU fureirn
to the tpirit tnd cluirmct«r of (Lis pure HMlcUuic miuk ; but
tbt marked, |>crluipi ceverr, ret auuretlly ulutarr, cberk %i\en
at once to tbe uttciupt, by an aiulifiire JivtinKulnhed for its i^ihmI
taste, mutt ba\o i>h««'u th« dauger, as well uh f >IIv, <>( the pro-
jected innuratioiL X(':it i-ume La fias-u l.m'.ia. It llur/iirrt
Hi Siriglia, ElUabetta, Semiramiite, and the ihte, iIk- prin-
cipal female charael«r in ail of which (dw Bariierc rvc i<t. il,)
waa admirablj luitatned hj Mad. Lahmle, which ipcakt highly
fMTtlwpMvat wellaiverMiUlityofhertalnl. Bui lUi
wat aimii to eajoy a uill liicher triumpii : it «aa<ke O t el H
of the celebrated Mtjwrbecr, the great and altraetiv* noveky of
the leaaon. wUch waa to ratine )i«r ti> tlie rlimax of public appro-
bation. ^ We ware alroidy ac<|uAiut««l with one of thti maater'a
productioDS, La Margarita itAnjou, which lind expericncf^d a
UTotinible reception here ; birt when placed by the »i<Ie of the
preisent btillianl production, it liaka into cMnparattTe inaifniili-
cancf. // Crociato in Egilto pruducfj a seimtion aeldom
witucMed iu a place, M-)i>rc rritiiisiu lit »pt t<> be tardy in
nraitintc. But what critiiUiii, huwincr willins- it nii^ht be to
be acren', could resist tlie many rkcw coiulmiitu.iiij of iKaiilMiil
harmonics, the multitude and variety of lovely oicludio, tW
iBfeniaua treatment of noitativM and cboniaiea ? Id a word,
ttc fuperior powen of fUa nmlcr hare been unifenally ac-
kaowledged liere, and tUi pndiwlioik i« Joitly retarded ai a
muaical phenomeiioD in tte pmwt alata of the art. Several of

Ik* ain and concerted piceeo «m «ilhwia»tirany eoeored, aod
ttttlbffetacaJledontheitagtntlhtMBeluuonof theopera. It
msanbject of deep nt%nt. aaonf amatenn, to obHcrve that

■tnnl morceauj oS digtin|i;uithed merit were obliged ru l>c
tOlitted, in order to hr'm^ (he rrprescntatioo of the pii r i « itliia
the time alliittiNl to an nj.rr i in ..ur place. It wa» witii jii^tirc
lliaerved, that iturely :<oijic j)urtiun of the ballet mif ht he omitted
tB 10 important an occoiioii, without iimi li detriment to it«
Vnitiea. 'I'he air in the fioale of the aecoud a«t may justly be
nHurfadaa thetrunrah of Mad. Lafauide's powan ; ihaptre it
«fib alt the abiUkjr of the nrnt iuithed ia^;«r. AiAnna, tao^
wan the taak vbich fttttoOM kiflf Mil*. WiihidMiT, wh*nre
the character of A m un 4t . H
Ufhted tha pablk to tee to fWi_

wall. Tba part af^i/r/anowaiwaHaHtainadlijr Sir. Vcecbi,
and Priletmni in the Sultan waa rery effecthre. The diflkult
cboruaKii ^> ere executed with correctueM and ipiiit. and fell with
precfaiion into the artiim of ihe piece. The orchettra ami iU
excellent lender were cnlitkd tn every praise. — the .leiicate
lifbts and >li.lde(, su csscutiHt (o do ju^iitirc to this iiuiiiii', were
well preserved thruufhuut. The costume ami demraiuuis wi^re
laaaarkable for their ipleiHlour and correctueta, the Kcacry rirli,
and the ataga Htuatiooa. which are many mA itpo H— t tn the

•fact of the wholct ware exealltDlly miami. wit fcilaionwil
thatUdiofonvillii^oQBliBMnlhraaMIn ion^ aad that it
liaaloMMMOB.tvaHf Hal idil 4apfiM it af Hm ohnm of

PRESBURC.

Report had sonic time aince informed na, that at the cloie of
the Keaton at (irutx, (he opera companv were to be en^ajred for
our theatre. But public report had tooheo deluded u* with
hope*, that we were distro'itfiil of it in the prt->ent Instance,
aod therefore the ihoit; drlis,'hted to hud th.it t'lr once it li.id
proved correet. The teaaun opened vtith that everlastinK^
Afonrile, U BarUtrt di ShigUa. Thi* waa followed by //
Jlaln'aMMto S »» n l $ , tho Jaee^ af UcbuU Dtr FrtitckiUi,
<M imoot of wMdi cMHiiMw ■■mwHio^ TmtnM, /nmia,
Lm GmttmLmJrm,(MtlU^mmi Jtmttt rtrit fhiwirtMilir
place waa performed with a epirit, taate, tmk MfiiOlMM^ whkk
called furth what the luliana term mm J mw t . faiaad. tim
MatnoKinio SeerHo m one of thoee prodaeta af art, upoat nhkh
tiute i Au pr<»iuce no material etiect; it braothaa frian hognninr
to end an identity of character, an ori|^naiitT ami truth, which
roust ever endear it to ttte true lorerof the mii*i< -U drama. .Vnd
yet.lugkattlwateoiut8fNwUalj; •■■ the tcaah that iaaUowad

-to diagraee Aeir bondi, whfl* |Ua gUnbw meaumrnt of tfc*
faaaa of ouc of the gmtiat aWM|f their dramatic inmpo'cr*, ia
allowed leiaain eoooiad with dust nod uhlivji ii. Do we
nut here in the North aet an exani|de, which the South need not
tie aahamcd tu follow ? Let the djsjrntreful cabal which holds in
boiul.-ijfe mnat of her theatres bf boldly broken lhroup;h, and
inuaic will resume it* native cucrpes on lliat. iti« favoured (oil.
Ilu( viMi will see (hat it will route to tlds at lait. Look at the
list of" new open* that hare licon iitlemiilcd i>f late to be lin'.i^lit
on U>e Italian boards ; out <d nearly t iv entv th,it have bceu put
forward with lofty prcteoaiooa, anil rmli .i', narcd to be luppoiied
by trick and cabal, two only ham: beeu su4:ces*t'ul. The eyes of
tha lliliu ptihlio an NflaBiaf tw ofMW tmi tka ditwa of
abattartaalt Iwipaa tobmkapontlMaL If ajfttbeer b ahoitl^
to be amoner them ; we look to iaipaftaat icaulti froai bit riait
to Naples.

ny the by, speaking of thit eompoeer, (here !a a talk of the

Crodalo being- (fiven liere before the elo»e of the aeasun, and wc
tnnl that the report is well-foiindrd. TM ilcd by the warm
and enthusiaitic arcoun's from w iiiam i|i,iirier», vee naturally
feci a irrcut anxiety here to Weonie i)ii.iitited with the music of
thi.-. uia^tcr, svhose name h.i^ m> si ildenly, vet, n-i all ai'rcc,
io dcser i>'dly become popular. We arc sure tliat from the taate
.lod piihlic spirit of our worthy mUMCi^iimtHs KapOllBMirtV
kiuaky, every thin; is tu be hoped.

Pit ANKPOIIT^Off •TOB4kDBS .

There are three institaUont for niiisin in th!« town ; DU
SingtgneUttkaft, (The Son|f-.\s»ocialion,) whiih was first
formed, and is atill conducted by thtt talents and unreniittin|r zeal
of Dr. Petersen ; Dtr ytrrin fir Inttrutneulal-Muslk, (Tho
Society t"or Instrumental-Music.) under the able conduct of the
ori.'.i!ii>t Lcuf hiienrinir, and the two directors of the military
nm.Mc, Messrs. Senne and Leui lite ; and I)er Lifilfrtafri, direct-
ed by .M. Controller J.dm.

hi the first institution, besides an aide clioni«, composed of
male and le:iiulr !-irii.''''r5, who do every credit to tlie exertinns of
the worthy director, there arc sevemi solo performers who pua-
aeia fine Toioaa, and diinlay axeelient judgment and taate.
From the maaaar is whin ttua UudaUe aociotjr ia oondoctod,
the beat hopes may raaa«iaU|v be fonaed bKthe true Intemtt of
son?. On one of the late paMie dbplays of ila talents, we heard
performed with great correctness, and admirable luirmonv in all
the parts, some of the beat choruiaes from Handel's Xam»on
and Jinfiua, n <plendid inolett. In elirfat partu, by J. S. Bach,
and till- masterly Mi^rrrrr ol' Kascli, also in cisrhl parts. We
( aiinol refrain froiii n-inarkiiiif in thi» place, how much we re-
i;ret that some ol Ihe very iiiit^terlv composition* of Fa^i'li are
sulfered to lie neglected. They are lull of feelinir, and ol'
b>'au(irs of (he hi|fhcr order, aod from (he centre and purity of
the conipii»iliun. are adminibly adapted to fimn the taste, and
display tla' talents, of asi^Kialions iike tin- present.

But (he great triumph of the iiisiitiition. was (he performance
of tha( oratorio of all or.Morins, the .UrwiaA of Handel. It was
recently given in the cathedral church of thit phu», under tha
direction of Dr. Petenea, with % correctoesi, a finish, and
effect, that excited an evOaiiaini here, irirfch will aotaarilr ba
forgotten ; and wiA tie addHIenal atxampeahneata of Meni^
which superadd lucb an animated and Cviajf ellect to the fiaeal
productiuB of thia greatest of masters. Nerer waa mure unecra
huni.airc paid to the spirit of the iniinortal Handel. The solo
parts were perfopiied, with a very I'rw evi eptiioi;, with equal
lasfr and po'.n-r ; i' ".i^ in the i li t ixr^, tli.il i iilmination-
puint of the gcoiua of the autbor of the JUettiaJi, ibat the power

OAn WOT 9f% Petanen Ahgbt, edily, and bntract ai wtA
like ml Iiaat year he produced, in nearly tie aaaw
cffertlTe maaiBir| Hk Creatiim tS HajilDi, the Alettandt^
Featt of Uaaiei aad the Tad Jttm (Death of Jesus) of
ftraun, and now came the Ulrttiah to crown the whidc. Har-
ing attained thiu much, tlte re.st will he foim I e.is^ ; and we
baia a« duvht but, in tun, we shall hear all tb^rbat maatnr

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THB HARMOKICON.

pS*cm of ehmk amte of the different uhooli. MifHht «• be
permitted to tuReit, that it would b« foun<l n<»t leu teweteial
to the taste of the perfaimen. (l«a fratrful to the paMie aft

Urg-e, if not onlv a proper choice were made of c<>mpo«ition»,
Imt ;ilsf[;re«Mire iinprovciiicnt nf the nrt. F»r instance,
■ •election niii^t be mudc frmii the wurks iif l'iUe»lriiiji ; Per-
folen ini|[ht fuilon-, .{ml jiur^uiiit; the midc cixine in the
Owiee Unm the other M-houU of luljr. the Hit miKht nut ua-
WwttQf tmlnate with that i^rand and effectire eompoiitio^
0W DtihmeHtm of Jenumlem, bjr Zinpareili, br Ikr the WMt
maaterif temoimaa im tlMfk ttyle of the MMleni Italian adMiol.
Were compoMtiaM Elw thcM duly intermmcM with the more
to) id pmdueibimvrGenBMin w« feel awwdttanbe adnuitafe.
llajthaplMMrabir«Mh - ---^^

tmoMbtl

u wel

duleljr Mt.

BRUNSWICK.

Our admini^trritinn li. r.> :« nut much di(tinruisli«d for itsz««l
in prodncinf novcltifii, ami t'ollowin^ up nt rlosclj' as lU incanii
roiKht allow the miirch <if the atrr. It is content witli the ill-
judired economy of remainin|;r utisfied with the efforts already
made, without feeling a noble desire to eahw^ge and secure the
p«tronaj;e of a public erer ^tefhl tar Hich exertioni, and ever
■uion to Ni|nite (liM. An hoooanU* nceptloi ha*, bow-
•fwr. been nnl* tbh aeaioa bj the preduclieB of that ipirited
work of otir countryman Spohr, JfttwJa. We bad been led to
kopr that the roinpoier would pay us a visit, and superintend in
prreun the prwliictiuii uf hi« excellent and spirited opera ; but
wc were ditappoiiitml. However, our ngreU were lightened,
by the laudahlc manner in i»hich o<ir music -dircrtdr B'tsoke ex-
erted hiinnelf to Dupply the abiifiii'i' of the nutli»>r. It nns in all
respects correctly and ipiritedly gircn, and every m li MvnurVas
made by the iinircri to correnpond to the zeni Hr tin- ilirt ^tur.
Tbecharaclen were cait at foHi>wt : Jmouda, Mad. Cornet, (an
Mcelieiil etanrt • antin «f Kiel) : Amaxili, Mlhr. Demcr ;
ikmdmm, M. JbnBtmiebtar ; Nadori, M. Comet ; TrUUn,
M. Wehrstedt ; Pedro, M. Knaust. it it lot niiffinry to |itr-
ticulartie the merits of this opera, or pmnt out III kMUtici^ a*
tbeie hare iktadj been drme in another place.

PEST IN iii:ngary.

The InlVlItt of music ate inaktnff rapid adrances here, and
our opera iea»on thuusrh short has l»een brilliant, and marketl
br h display of very uiicoinninii talent; particularly in Mile.
Pleiffcr, in M. FijchiT, the well-kno»a bass sincrr, and .Mile.
Kainx. The latter lady in fnim the Florentine thratre, ami bv
the beauty of l>er voire and effective perforuianee, allnietcd
fiMnI ■Itoiilion. She made her M4I hem m the rharacter
if TmurM, and pi*, throu^ her afdaon aadertakinK with
ci mte i e wh t^Uk, and feclini^, and was excellently aupported by
the hdj before named, in the part of Amenaide. Mile. Kainz
was equally iucce«ifol hi the duuaden of Ih* llwlt lUniaalii
the narbUre di S/vfflto it Boedai, and the teader Aatba in

Jhr FreUeAiita.

TOHUf.

Teofre <!* .^Hfmiut,!— Principal dafcn; prima donna.
Tininia Bbtria; le«erw, Fnuieeeco Bowaetni; haaa, Luigi
Oomdo loeegB. The apcnin; |neee wia Celli fi Amalia e
The Tnrin Owette i> rerjr ansparinar upon the

poetry of tUs u^cra, aai wntehed it must itideed be 'allowed
to be ; bat we thnfc the ebm inHuns of the journal, relative to

the music, unncceijarily severe, considering modern forms and
pnctices. It is true that some airs were intntduceil, narticitlari)
• very picasinc air by Carafa, which was admirnbly sunjf by
Signor Blaais, but this ensl.im is becottic so cinmiHin, tliat the
public are (frown used to it. ami i ritica li.we Kin;? ceased
til reliruvc, as all tljcir severity w.ts UrM\,\ una\ .lilahle. Zuccoli
also »un^ an aria witli great taiU and elTiTt, and a s.mg: by
Boccaciw in the lecoad act wu loadljr encored. Considering:
the general rwnand eh amtor of the operas ot the nuwiem lulian
iHmIs Mt k not a* bad. The »potmfM» of Pacim fol-
lominntahlrfnedeanridnbUHceMi. UfnlkeMefthe

curtain, the
rooelfo

dngiere were calM npea the etagn !•

1oni of the house.

KLOKENCE.

TnUro Pergola. — The seafon oitencJ with the Didone of
Mercadante, but it had no ikucccts. and was succeeded br the
cverlatiiner Tancrtdi, wliich is sure to please here. ' The
principal sinjrers are Boniai, Cecconi, the tenor Binaghi, and a

new singer ofdM neaaofltelia^iiliniai — — * -

of tono promile.

cawoA.

TeatroS. Agotttno. — The three principal piece* of the sea
have been Mayer's Ginevra di Mcozia, (inecco't fVrnif iifai—
e Roberto, and Rossini's Semiramide. Principal aingcrt ; Car^
lioa Basti, Rlisa Sedlacsek, Domenico Belaa, and Baphaele T
nettk AUtbeee three piece* obtained eoMUmhl* r

REGGIO.

The priDcip.il singers here are jtriiM donna, Teresa Ilellorhi>
and Hosa Alariaui, as musico for the performance of nieo'i
characters ; tenori, (tiuseppe Fusconi and Pilippo Etestri ;
baoto, Luciano Mariani. The (Hece that pleased tite mo«t
hep%«ii the Itonna dd it»g», wUsh IM iNtt «ails and pifw
' with great spirit.

AMSTERDAM.

The opera here is in rather a lan^rnishingjawwj
any want of patronag^e on the part of the pMl, bol fhNB
fault* within the house. We hare had no new operas fur an
age ; the hut produced was the h'iilrlin of lleelhnn ti ; but
it was br no means wcll-ca»t, and did nut priKliice the intended
effect. Next came the '/.i lmira, and Ln Honna del Lago of
Rossini, of which the latter plcasi-d by far the best, thuutrh
it stood some chance of beine crushed to death nt the outset by
the new overture which M. Music-director Payer had thought
toeoapaaa Ibrilk in nrdirtonprir the ddUency of
' poMWMNU aflUr, ania aa

It WM a

unKke what a aintical prefiice ought to be to the temier and
spirited Donna del Logo, as any thing wc could well iaaghMa
>ot content with this mtt infliction, the music-director, er, an
he styles himself, the first Kapellmeister of the Oerman thratNl»
treated the public with a couple of operettas of his own cool*
position ; one entitled I>itf. Umki^d/m' /i'' .-/Aai/emie (The Husio
.\cademv ), and the other />i» Tra'o r. iTlic Mourning.) A wag,
in one of inir journals, propo«t » t(j w riie tlie two titles in one, and
tlicn it would run thus ; Tke mourning of the Mutirat Acn-
tlrmy. In spite of all the liopes that were Mid «U, we caimut
say tliat tlie direction of M. Paver haa raised the opera in the

wi. brtowtainfr aat eeni i nw dabl e . Retain Utieatbjrtheiidn

of a phun^ «f nUeh he nwke* but little uae, and haa revived the

Gothic |*aetioe uf beating the time with a baton. Nothla;
can be nuNO unseemly, or better calculated tu deatroy tho
quiet and pleaaurabie feeling* uf an audience. We hare beea

accustomed to see Oie leader in an elevated position, from
whcnrc tn' rouiil rurrnnaii<l tlic ivlmle {ircliesira at a (glance, and
indire<iini; niufii;, ihere is no assi&laticr 80 certain as that of
tlie \iolin. From lln-tc, and a conibiu.itinii of uthcr eiri utn-
ttancc*, our opera haa certainly fiUien off tius season ; but for
our comfort, it ia wMip a wd thai the dinctin la topnto into
other handa.

OnreiMerta have beM antoMGi nad in»ottaai; na itha l ut T
theee ef oar principal Mmh-Aiieehthin, called Di* tUmmtmlM,
On one of these oecaaiooi, Spohr't Zemiro m$td iiaar wtt
given in an exoeUent manner, as weO with reipeet to die aoln
part* as the channee*. Tlie difficult part of Ator waa given
by a young virtooaob p{*ed with a clear and expres^e tenor
voice, and who sung with a taste and fcelini^ that exrite<l general
admiration. 7*hepartof Xnnire was also well siinported by a
vounp ladv, a dilettante, and the jrr.icrfulness and moilcst^ of
lier ae portirient, so op|)o«ite to tl:i- ircncral ways of sin<(crv,
rharioi'il e»erv one present. The heauLiful .ind efferti\ e c (ionis*e8
with wliitli this opera aboundH, were alto e.xeeutiM witli njuch
ipirit and currcctncss. indeed, cunakicring the nuncruus

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THE HAmOMlCON.

^fcinhufrfflw impoftMrt aiii «f Mtfim. Menery. ■nddeeortMion.
«• MM nrprwed tluit M Iraglknud • icriet of rauticd a!n
aad dtorou«t could keep kttention to actiTelr alive for to long
» time, lite eeTenth concert wm comeermted to the memory 3(
M. Kemper, well known ia tlii« place *« » ni*n of IrftfTs, n
(tet«»man, and a patron »if the art. Tlic firxt pan ■iptntd with
m kind of (Sirge, coDt»tin|r of a lolcmn intrixliictiiry mDvrmcnt,
arecitatirc, chonnte*, ana a qnartett. This compositiun waa
fr«n the pen of M. Wlm» ; and the music was markinl by rnuc'h
chAractcr, and produced a very ioiDrewve effect. The terend
part couaiated of a ainular kind ol compoutkia, by M. Fodur,
which alao rontai««d aa openinf ■MtwaMt «f ft tolaimi eh*-
nctar, aad wm h/kmti bjr ft wj 'nBtdllim liant, nd »
raeal anartett, witkoat any iMtnaaental aecompanimeDt, wkidi
•bewM tiie talcBti of thb nBtlaBaato baaf m Mcosdftr/daM.
The music was Ukmtd m ■ uinjitM M tha immmi br ft
trother profeaMT ftf lift tUnntiT oT Lejte, «• mm oT
Fftoder|Mljn.

Two eoneert* were alio pivcn fi^r the benefit of the suffers rt
by the recent inundatiooi in Huiland, which, we arc happy to
any, fully realixed tha wiahea of the worthy promotem. In the
yir»< of them, the Creation of Havdn was excrjleiuly piven,
under the direction of M. F.Mliir: iii thf sfeoml. ,i ieli>ctiotl of
Tocal and initrumental iniuic, by tlie ituciety called, />rr nUiai
Mnd 8ttjUu$t, On tUa aceuiMi, UUe. Lanfrr of the Gennnn
TTieatre iaa|r a accn* and lir mm the AehSltt of Pavr, and
plajni a pot-paarri opoft the tEoMikott, an inalnftMftt aali to
lka*8 baea laend; invented by an artiat at tha aaate afVan-
Bftftf. Aa iar aa we were enabled to judfe from the point of
viaviftiiWdi waaaw it, and the manner of perfomiinji: on it.
It appcarad to differ but little in fnnn from the Physharmonh-a,
but it poaieMCd anerident adrantai^v over thi« instrument from
Ilia baantifid and afllMtiva maimer in which all the finer mda*
• * - iH.

MADRID.

Ntm UutietU Jmirument. — M. Mic;^, the learned director of
the Koral Cabinet of PUIoaophT in this city, and a dictini^iihed
uutkal amatrar, haa for some time past been eni^agrd in endea-
vwira to give the organ the quality in which it is defective,
namcljr liwulty of gradually aucinenttng or dimiaishing the
intenait^ of its tones. M. Gr£nie invented what he called an
«jr/>r«n>reor^n, which in 1811 was approved of by the Conser-
vatory of Music at I'aris, but notwitliittanding this patronage it
kiK never been adopted. This instrument was scarcely the siie
of n p'isitif, and its keys obcved the doiifree of prcMUre of the
L.iniJ or tinffers: conscqiicntfy the effect of forte or piano
on the Mine suund could only be obtained in stow pieces ; for in
rapid paii>itre!i it iinlmiMt impottible for tlie organist to calculate
exactly tJie impulse which he gives to his touch. M. Mieg has
thought of another plan, and up to a certain point, has .irrived
ftt the mie reinlu aa M. OrhaU!, without an;
Miaatiainbii nsdivtakinc, Uowavit
Ml Vm ftnthir. M. lutf replaH
(toufftei.) br that af the linma fjamaienj
a tube placed at tb* aame height aa the parfonaei^
In order, however, tliat the lungs ntay have softrient power to
aupfment or diminish the volume of the' sound at will, the tom-
watr (wind-chest) must be ronsideraWy reduced, and adapted to
only a small flute-itop of tlircc octaves : besides tlie inMnmient
in this state can only produce iiipjiKdy ; for if harmony be wi»hed,
the lungs, which are thi' [innripal agent, woiiltl not be nufiiricntlv
atrong, constantly to fill the capacity of tlic $iimiHirr, n hirh iriiuhj

t air tbrough several tuliea. S

struniiMit

taanl^l^ftcariMtex • <""(>>"K Mcam-

we have described wmdd
wild InatinBeMi. M.

Mte baa Celt this, aad in otimt to supply the defiml^ taaadantai
to hfa little organ, bellows whkh are moved by the Ibot. Ylw

instrument then losea the advantage of the augmentation and
diminution of the sounda, and plays like .in ordiu:iry ory-an which
has but three octaves, with however the aiKantape of briris; verv
portable on account of iu tniiill tize. This iostrunicnt may not

Mljr be employed alone, but peiacaiM (be ralnaUe pnfcrt/ef

beiaf played tie mm ai ihi anfiiury piano, the keri e ^

spomding exactly in diraeaeion to tboae of the piaao^ wiickinthft
present instance give motion to the pUotet. Tbaa fbe laft
nand pkye on the lower octaves of the piano, the pemaoenee
of the toHt aigut is obtained, and the iostniment
abaeat Ibe aiact of tha vime-erMm'seif; but it itUI
aTmittlStht '

prodncea
haa ona

M. WEBER ON THE INTRODUCTIOJf OP HIS
FREISCHUTZ AT THE ODEON.

Tbb IbUoiriHt iMm MB «idi«Hftd to IC Gattil-Blua,
who hM adntad wmm tt BoaMfM opM to ¥iw^
wordi, and hi reoenllj broadit ««t the Freisehiilx
at the Odeon. The editor of tha Fariaian joarnal in

which these communicationa appear, does not statt! the
name of the person to wboM iL de Weber addresses
hioMlf; we Mw tiw ie fc ii inflkd the deficiency.

Dfttden, Dec. 15.
Sir — There was a tine when I regarded as one of the prin-
cipal cnjof-menta of my futare residence at Paris, the making a
per»unar ar<juaintance with tlie antbor of the Opera lit Franett

a work for whii h I bhall never cease to manifest alt the admira-
tion tow liiih it i.> lio ju:>tly I'lititicd. I was pcriuadetl that I
could not help profitint; frmn the conversation of a writer so
dittiiiguibhed by the most just and purest views, and I .iln-iidy
conffratiilated iny»elf on it by anticijation. Jodije, Sir. nftcr
(his (I may well »ay it), of my profound grief, to sc • tln'se de-
lightful hopes destroyed, by the line of conduct whicli you have
pursued with respect to me.

You, vonrself, first prupoted to avange my opera, the Fref*
teAiifsr. fiw tha IVcadi atife. Notfafaig ia On worid cauld ba
more cah»Uted to flatter me, aad to caU fiMth my siaeereet
gratitude, but yuu did not think it neeeuftiy to apeak to the
composer, nor to communicate to him lonr Miai oalna ibaiime,
perfaapa inevitable, for your public. Yotl procure an adaptation
irom a source altogether illoi^itiniatc, (could it appear legitimate
to you?) for niy work bcin? neither engraved nor puhliiilu'd,
no theatre or !nu^i( :ii r li.nl a right to dispo*e of it. Tlie
opem w-.is at Un:,-tli liniiiL;lit mi tlir sta;^e, auJ ymi iiwrliK.k luC,
even s.' fiir ,-15 '.II rlun, tl r; r:_-lil^ nl' llip i imm[I(i-it fur ( iiiirself.^
I witnessed all this, aiid expected, one day or other, to be
honoured n ith a letter from you. Sir. It appeared to be im-
possible that a man uf your merit, with your ?iews of the art,
ould iWret eatiieiy what an artiat and a BMB flf y

owee to aaetber. I. howaeer, ba«e tUa nameK naara tnat yon

have Juit nubliiihed the adaptation of the Fre it tt StM t - A h, Stf,
what will become iif all that u sacred among oat— and without
eran baring ncij'.iired it by legitimate means?
Sir, I aildrc.-.s inyvrlf but to you, and to your lionourable

feeliiMn — to all those noldesentimfnl.? which you have cxprcswd
so many times in speaking on the nr(, nnd mi iliiit wliii L ii '.'iie
to it. .\llow nie to hope that it was only tu'^Hijrni c, turn n;it ir.il
to arliils th.il h;^^ been able to make you I'ori'ct altogether thst
the coMipiiscr of />er h'reitehutz wa« in existence, and be aasared
that I wili preserve, as much as pociible, tlNHntlnata oftlM
citccw due to your taicnta, with which

1 hftfe the hoaoor (0 b(k te.

Jrejrfew, Jhn. 4 MM.
Sir— ft haa appeaiadte yea nqwAuMH ta hawNir me with
an antwer to my hitter oftho 15th of DeoMlir. and in spile of
nivself I find it necessary toaddnaayon a aeaoad time. It has
been communicated to am, tiftt ft meee ia about to be prwiuced
at the Odeaaia Which ttm «N aatnotafiaathaSarymstibe.

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tk U mj iatntton to brisf this Ootn out •! !
lut-e not said my iatereit in it, and uoboily hu it in'Fraaee.

It i» perhap* from an en^ravci adaptation fur the plaao that you
have copied thow p»rls of it wliirh vou vvixh to appropriate.
You have uu ri;^lit tu iimtihili' !in muiir !iy intniducin^ inti^ it
paKiage.), th',' iitcoinpauiuu-iil* nt »Uii b an- of your own coiii-
poiitioii. It it:is quite enough to put into tiic Frrischul: n duct
iruin Kuryanthe, the accotnpaDiiueDt uf which is not mine. —
Vou compel me. Sir, to ■dauM ^JjM to the public, and to
Btake it knuirn through tb« Fmicli npcn, that it is a robbery

OatvUchMMun t*wi«w tail BfiMdiil tin on mr

npMlitiuD, by brin?n>?''forth, under mr anWt mutHikted «peet-
■am* To avoid all public quarrel), wuelk we never more ad-
^WVy«"t for the art than they aj« for the proftiaon of it, I

■fmjr yw. Sir, forthwith to witbarav fmui the piece which you

nave nrmneed, all the pasi!i«re«i which belong to lue. I urould
wish to !nri,M f \\,f wro"? Hliich li^s bi-cri done me — I will say
no more afmut FrrUchiit- — but stop hrrr, Sir ; and permit me
to indulfi^p thff hope of bcinp able to nifct Twi, OM With

aentiiMnte worthjr of your talenu and your mind.

Kura*a Tmatm.

„ ttaOpMftimild
UbifHitiB Ha Tth «r Jamnnr.

Signer Porto.
8igoo™ BoNiKi.
Siirnor Devillk.
Madame Caitelli.
tiiipioi Ct-BiONI.

Ifadaaa Comma.

rVBLUTI.

Atadln
Pahnidt

Otmin
Alma

Adrian da Mootfoit
Faliain .
Ammdd'OcTiUB

It WOI Om MfMV (
pMN^ ililu ottcf nuni'

S^Dora Bonioi, who ha« displared Madame Cnradori, came
Ami TuKany ; haviuir failed tome year* a|;u in Pari». Her
ncMUModation here V, having performed privately at Florence
fai an opera couipoted by a noble Lord, and bein; a kind of
prhna donna that will coiulesi liuI i<> »itiif with a mut'ico, — i. c.
with a male aoprauo ; for \'w rc.i.ij llrst-rale mhiiumi Mill ijiil
appear on the stape with n piTMiii ..f vudi a dc-i rijilion. Tiiis
lady pos&eeiics ,\ voici? lb.it i^ w. ■;,),, fxrcs?ir« Iv 'juslfuily, ami
much limited in couipais : ilic cannot be perfectly hoard at a
di:.iant part of llic thoatrc, aii l \% obliged to chani,'c the upper
nutca allotU'd to b«r part. Uuiuckilf the liat neillier youth, nor
finuc, nor beauty to offer MM eompenntiMi ; her nwceM
nerefore ha* been, to any the beat «f It, of a twv nefatite kind.
Bm let u« do jutUee to one good quility that ahg can boatt, —
ihe linr* in tune, a fact wbicb lurpniei us. To take thit cha-
racter from Madame Caradori, who filled it so mueh to tlie piib-
Oe satisfaction last season, was not only an act of folly, but of in-
gratitude ; for aha aecaplad it at a canaiderablA risk, itiMUed it
with unremitllBf laAialrjrraaifadhnMditlBafcrj

manner.

Madjiiiii- ('■ riirfra bad cained a {rreat reputation in the snmll
Gemiaii tiiiMtres, «s \ run!!- ulto, ami came here recommended
by the Duke of C"aiiil.iriil;c. an i siclli^nt judije of music. She
is evidently a complete profck^ior, and in a nmni displays
ahnost evriy qualification of a snperior sinrer ; >iut she wants
power, a defect iriiiek ii to aHoucly felt in a large space, that
far ■ roeaw e t tew aiiatba aa M M aw d M a hilara.

MliaB «f iBfanar PeMe fcr Reawini la a great
tte fllbtl «rika efiM. ThalaMarinaMUMllr

, offcaarer. Pm

pure miiiMnarsnient we lost him, for he was very wilUng te
rsinain In EnrUnd.

Si^ur \'eiruti produces no ciTcrt this season ; be was ni;^
p<irteJ by the opposition made to luru ; wheu that ceaseil. he lost
Lis luain prop. Of his l.-iite we h.AH' iiiaforuier number spoken;

ili> ii'>t Imd tb.it it (>^^-l■.., . tilt I'hann of v.irictv ; he is %
raauucrl>.t. Hut tUit in aii notliinj; cuoiportd to hii intoaatioa,
which, tbuugh imperfect last year, is much axwe so this ; firoae
the couHMDCcaient of tlw prcteot teaaoi^ lie haa tung to ex*
traneb oat eC <mm. >o flat, that maat am Mt hwr
U. aiMieineaa Mr pnprietort into irr{nMM.ttak ««e« aif*
thin^ but flatterioi^ to the ualbHunate Signor.

Signor Curioni is reaUy now tlie chief support of // Creeiole
in Egitto ; his singinf ia pure and animated, and bis voice and
acting, maaly and sensaMck

The cburussss are more perfect thia year thaa last, for the
opera was tlien ^ot up in ba«to, and time in abnadant» has now
been affi>rded for perfectimr 'be »ub»rdinatc part*. Two
trumpeters, thi' Sltrunri (i.<lh.irti, are c^nuc to [HrtoriQ here.-
They play with yreat exec ution and accuracy ; but their tone
is like i\ hat we iiua^ioe a Brubdicnai^aa penny-trum|iet niit<^ht
be : it U disagreeably metallic, brassy, and iu&ail«ly Un) luui
We hear, however, that they can piay wilb fleet delieaey aadi
aeftoctt, vUch we shall be Jiapp^ to aahMwIedge ; far Ihajr

of talent But whr aMage them te I
«f ewwnoaiiBtrynien, Harper, deekMly the best peH
Eurapa. He atay, peifaayi^ not be indiiMd te play so many
tridkaetibiaiaatnmMat, aa these who base wit enough to addreta
their efforta te ruch as lave quackery, but his tone — almost aa
»uft aa a flute, when nnrrttarj in perfection itscli', and his cer«
tainty both as an orchestral and nolo player, has never been, in
aov one instiincc, called in question.

Tlw BalU t is til iw under the direction of Mr. D' Rp ille, whote
abilities •Kitf. fi.rini'riy held in hirt e»te«m. He has not y«t
produced anythiutr mi wbirh we suppose he means torcstbia
Allan npUlMon ; but a grand ballet is announced,

DauHY-LAHB Thsatbb

Is now going on flourishiii|l|r ; Wti, kMnaH* lljMnaaf WMf

' laTpradactiaa.

A ton ef Mif. Maad — tte oM fUMk
appearad hem, bat made M laipeaialaB. Wwi
!• Qepraaaoaa am
taMarkwt.

Opaiab

TRAirSLATlON OF CAyzONBTTA,

Pace to, Vol. 1 : adsptrd lo the music.

IiOflk on my cheek, dear Clilori,

Still pale with recent fear.
One Httle hour how hapless! fTteiet.)
Haa wrought such difference here.
Yon turn as pale as i,
AMuagk yeu kaew aet wftr.
Ab, how bare T aarslv'd a bVar
FrauMit with such bMarwaet

(Twic€.J,

I drrjunt. my dcarebt C'hlori,

y..u colUl* li.i le adieu,
Aud ea\ e uie baik the food lieart
I |Wiilta tn love and you.

At that harsh word there (
A«iiilio*eral|B]rfbaaM; ^ .
More bitter 6r than dtalkt M du^—
The pan? that rent my liealt.

Strrti h'd at thy feet, dear CliloH, ?

! lay in upeerhless grief,
Nor came one pitting tear-drop (TteieeJ
T» fitm oBjr neart mHcC

One wMi einnaf imile
Stood by thy side the while —
Ah, how have 1 surviv d a blow
Fiai^ wMh iack Mttar wae I

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CONTENTS OF THB THIRTY-NINTH NUMBER

or Tin

HARMONICON.

Okacmtiont oo lluk, by
Ob tkt elMMf e of Ibc C GkT
Oa the Miiaieid Dnuna
rtm TMkHn HktiAm M Puis

•rSMtar

On the Be wrt ricWw of

. 48

. 46

. 47

. 4B

. 6»

. «S

. M

bv R. L»cy »i>d J. Grera

KdMH** MoUO IUMMtT<— I

gmd'-'tttfa—Jt»flei—M!Uin—Rowu — Bologna —

The Violin, mrthixl of Inntnirttnn for, hj Rode, B«illot

aixl kreulier ; tniosiated fnioi the ciri|^inal £<iiti<M]
llM«rt*« Cdebratod Concertoi. newlv »mog«l for the

P.-VMI. wWk M — Mi ii n nU by J. B. Cramer .
B il H iBiWilBt hr Htm P-PluiM. by J. B. Cramer .
andrfU OdiinM Cliwtaiw. for Um P..p«ite. and dedi-

cated to Hit Majcitj. bv J. B. OnHMT
BeetboTca i Orood SjntfibMiiM tcfr Hn P..VafH iM

Accoaipaniowata, br J. N. Huinioel . . . .
MUittrcrt Harp, riir the P.- Forte, by T. A. Rawflm
Tha ml. led R<ne. with Variatium fur the P.-FurteTbr

B. BIyth, Mii^. B.U. Oxi.n

Th{ WarWfr, for the P.-Fi.rto, by John Parry
Twi! Poloniiisri with Tr;.r« for the P. -Forte, OfCltnf
Trr«i«»« Air* l"i»r the P.-Fi.rte. by 8. Poole .
GiuviocttoCaralier, kc, from II Crociato, for tbt P.-Fortou

by e. Sulk

MottWMi, (4 k FJeW) for the P.-Fortc, by C. Plerel
Mah M W m Anbera opera The llaton. for the P.'-Forte,

^.Plerel

BmhIoob in piaeMT, Ibr tkt9,4fmu, bv PlenI
JMiiSMi, pMrtoP^Mt ... .

ffS
•4
M

65
69

57
57
58
58

M
M

The Jurenilc Bnnii, ,
Six ea»y Voliintanci tor the Or?an, by T. Adami
A f»miliar Voluntary forthe ()ri;nn, li^ J. C. Nii^atiagak
Voluntary fur tlie Or^n, by EsUier L. Fle«t .
Gow'5 Srlcction of P.-Korte Muiic, No*. 6 and 8
Weippert'i Quadrillci, from II Crociato . . . .
VaitaioiM for the P..Fafta. by Don Matthew FtarMr .
ftonurite Airs from SaKa i f t Op wa, Tkmn, tm tti

P. PWHk wWi AMMHuianli • . _ « . »_ _»
VmmAWUk* by W.^MMtaff} «• IPovlitrW;

Bellamy, Eiq. .......

Duet. Honour unto the BmOb by Dr. Wn. Carnaby
Twelve Veoetian Caniooett amiiifed fur the

Gtiitar, by J. A. Nuake ....
Tho ByiM, fur tbo Voico and Spta'ah Qmtat .

Pof

58
56
58
M

paoiment for the P.-Forto— (tbe Poetry by Big;
Gabrielle Rouetti) — compoied purpotely for tta
Harwtonicon, by Si^. Cucvia .

II. ROMANCE, " AdUu I* ghirt, tulUu h gutrre,''

HL BONO im the 71m GemiUmam of Feront, ,

Shakapean's Soiif».) W. LdMLBr . . M

IV. CUCKOO W'ALTZ, for tbe P.-Forte. FoaaiTH 47

V. BALLET, in tbe OrudOpmorOftep<«»urMigad

fwlh(P.*VMt. SPOHTnii .41

▼L POL(KRAIB^ftr««P-rM*-(«Mk«M»
▼n.BOIIDOIiBfm)kAv«WP«^iMlh Wmu

TO OCft BIAOVM AMD OOMtMPOirDBMTi.

T F. aad a OnwaeMr* 4wtttHK't wil aae
Mored in tbe pmtw aaMbar.

J ^firnd U fefcfied to
that for which be iaqoine.

Anli-Hwmimg. f n>f wIm "Tanre," and the
ft to laBetPa B w ilt , to woowod We wilt k>ok lo cbS

Wo bMO nt HM Iho ptooee Ml i w m i by Hi
opera be alhidee to. aay poeaibly be petforotcd hci« .

_We bora raceivad Mr. B fa itKjiid|ed eoaaraaicatiaQ.
twyptfcMadopwith thaolhafc— da e cip i J aa. Itihallte
iotii VmhadaataaMCMlUMMiaahtbi yoathaadiM*-

'iittmtam. Tbe

Mmattur, of Tnrviek, wilt oblige by iofonniiip; n(, throogh oust
publiiher, when we cao addma a letter to bun oo the Mbjaet
of bia inMrcatiag conmanicatioa.

Dtiteiar will admit ilie ilriet joatice of eor withholding hi* leUar

to Lord for thr prrwni. Our nthfr !orf»:»popdcnt» on

the aaiDc tubjrct will hr good enough lo cooaidec tbii aa a|
onawer lo them. Tbcir comaiaaicatjooa i
aad aMy poiaiUj, aot probably, be yet <

■wmMAik nt oim Laay.

The keafofmotic p*g;«d ST, SS, noatbetakea oml and rcretaad.

tl.

For fmsB ST. r«ad page M; aad for pMe SS. raod pafe 87
Page 17 (aa piHadX«klHrarM mAaaMAlN «md
•aawfH*»«ikirit«ihlwifliiliM sAMMkt

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ifilitiHcal iijftmom

THE MUSICAL

INFAZTT SISTERS,

^rlul. ixHiBir thkir

UNEIYALLED FEaFpRMANC£S>

vLArma abixxs and suets on the hAbp and puNCMroum

» - • • . '

EGYPTIAN HALL,

.fiayitey, at Omi Half-piut TWw; aiM< For ^Cfadk, pwcuf^

THE 'Merating UUle ChMnn (the qm only Four, the other Sevca^ jrem of a(e) who are bow flnl iatrodaoed to pabtic notkc,
mtt perbapi the moit extraordinary Plieiionicini (lie Musical World bia ever wiliMMed: oolHie all aimilar precerfinx jooaff
«nidiihUM for pdUk tpplMue, tbejr not only play lh« luiple and pleariag popotar al» with taito aod accurw^, b«t perform ate
gmhhoBrtB|*|ceioC the oMiat€»l— t«oiiyiiw uCmoKr, SalkbrMMC, WaUi, CMM% adi «lkai% wMi • canavtoH^

taite, aad execution, that liavc excited llic adiiiimtioii of every Musical Profeaaor who lia< hranl them. Inrfeetl, (o ?urh a dr^rre
^peifoctioo have they aUained, tbat they need liardly claim Ibe iadulgence ft«ely granted to cbikJrca, but oonfiikiiUy bo^
win thia htghly-dHHyafaJ whatcaf age, that didr Fwfcr Ma iic M wffl h>»o n m u m taaattethitrtfoilam

Without attemptiiiif to rxto! (rn (lir tnlrnli of titcaa labnta; It may bi- piopf r lo slalr, that thrj !j.h'< rcniveil pru*

ftliinnil iattmctioa darbig oaly Four Manlba,<^ period which ii UHMlly found accaiaafy lo Jeani aMMly th« MtMuid very iiat
tHteenli oT «ka artX Jwrf «tet thrr. hart aniMil at tUa Mih patat aT parfbeUoii witboot any «f that anfnftjr oTataJy, whidi.

it worilil iiiitiirillv cccur to every one ivlio lic,ir« Ihcm, must have In-fti in orJcr to bring them to llirir preaent 5(iif>- dt

cxcelltuoe. Uii tiie CMitrary, oiie great ol^it ia tbc duty of tfa« teacltrr hiia Ucii to rettrain, ralbvr than excite, their ardonr.
Ifnaic, w ith them, ia their cliic^ IMr jMdy amaaramai aad delight ; their aoola woold aeem to poaaew a preteroctural capacity Ibr
gyaaping all tha poweta of harmay^i aad (heir finger% tnm thdreaiUnt iuftocy, have evinced aa iaatiwUf* ayukal aflitatiaai,
Oe painliil aaaarfloa oTwMdl waa reliefcd only by their bemg pennittad to play on a kapai fi*iiMa«, That tuaUanliaa ia
th( ir lushest ptrasurr, ia appaiMt from the eagemeia with which ibey aoltcit Ma<uraUaa» aadllnAa* thdr fosdBHa for Iheit
preceptor, which i* cijuallod only hy th« aAtctioii they abow to tlieif pareota.

They perfbrm their aM»c entirely from notca, not from ear ; althoogh, »uch ia the estreaie delicacy and correct ueaa they
poaaca of tbat organ, that, without aecing the inatruaaciit, tiwy caa diatioguiah not only aay ita|^Mle that ia itruek, aa well aa
the ootta oTwhkh any chord ia conpoae^ tiatiag tha oalorali, fiat% and aharp^ bu^ aa aaaa aa a piace ia nwiacftt will

iMMdhMyMltn whatlMy it kflayaa, laMl thaiiadb aTaaitial diiUma M iad IfMial nnfli ii who ha«»

HJt Bw dlha«ip|yaftlidrtelirt» "Their Prrfomaacaa ate ao woudatfa^thati^ awwt he heart to ha cta^ittJ.''

Mtntms wmmwomMMMCBf pam$ mumjunt «wot abb mm*

XM. V» Sa hel loB rfllwiB wiU be »>ried canMiiiihUy.

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THE

HARMONICON.

No. XXXIX^ Uamcu, 1896.

MEMOIR OF THOMAS TALLIS*.

Hh or an; irtiMr C Wtij tMdaoMl iaiteB U»

. kk nin«r BrarjVIII.
_ ii Mkl to h»*e been prg <Mi l8t m mral cHapel
dving the reigns of that tovereicpn, Edwnni VI, Queen
Marj, and Queen EliMbelh ; but the iiiscTiptioii on htritW-man of the chajiel, and !tprvpil (Vir

Tbe stiidies of Tallis seem
mttd to ift* wrrioe of At

have been whollj de-
, Ibr Ut now h n«( to
Im tamaA to tmy —ienl ■■■■■■iliM mmgt, hiMmh,
makriftk, nr — y of iktm li|fcnr Mnd» <f — ite, fnuned
-witbaHBwtoyrifalnnaMliaii. orttemMrf disciples
«h» had prafiled kj lia iMffwHiaa, Bird seens to have
poRKtsed the g reateat liiare ef hti aflbction ; one pi^f

whereof, was a joint piblir.ntion h_v \hpin h-lh of niip of

tbe noblest colloctioiis ot bjrmus, and other dMnpositions
for the service of lbe«taMi^ that OTir qppMNiA ta lay

ane, or in any conntrj.

Till? w(irk alluded to, was printed by Vantpollier, in
l&7a, with the title of " Cantiontt qua ab ar^umenlo tn-
tt» MEon/wr ipiinqM ft srx partium, AntonAut Tkoma
TmHuia W GuilUetmo Birdo, AiyjUt, tertnisrima majettati
d priuaio saceUo aenentit *t erganiitis."

TMa wmk mmwMUM aaiar Ibajiiiniliaa af a

•parbeeo granted ; and at At fl i l ikf i i CMilaiswd in
It a*e wrv sing«ku>, and Mvra to tbew boirIarp;e a share

of the rojral favour these aathors possessed, the substiiiie*-
tbcreoi', as printed at the end of the book, is iiiN«Hcd

^* Ftws air Ma Hiwidaf AMsiy ^ «M»* vHh a bwrntal

t During the pwvs h aes ef dw QplhoKc ic%<oe ia BBg-lMta,
iigfMB «Mi aat iaar«st«l widt tha AmSm of oq^Ml, aad Mvar

mU ihti •ppoiatoMM till Um ir%n of EUabcih.-HEotToa.]

1" The extract mkI «fliK( of the quriM. ouirMin IcUcra |i»(«n(a
tol^BMaTaUwaad WUIiam Birds, for the pnnunir of muiicke.

,qpffleof k^ni^Laniir, Krauncv, and

To ail pciotBis, buh— ilhiM, mmi
iSlSlwH^im wfbma iTlby

ym. nr.

M, ia bw I>|Mfn»Awa/ AiUiqmtin, p. 363
tbat tba dadfcathia ef iMa boafc to Qacen

3S3, take*

it b aMoM thai ha BaMt ibr ll» 4
wblcb k moat para and fSBcaaC Zatfa. Tha a|iiiMta t

dkmlory, it is more tlmn prooable, wa* written by Riehinf
Mnlcaster, the master of Merchant Taylor's school, m
fxr-fllent |jrai»marinn, «n<l a man of the ^r^t ilc^rt-e of
finiiience in hi» pnifcssion. Thoro are pretixtd lo tho
l>ix)k some Latin commcrulatury verses, with his name to
them, ia iriiidi ii tbe following compliment to QneeO'
* "* * ' iai

Hane in deliciit mapcr habere Mlrt.

Nee (ontama (Tavaa alioraia aodiiv laborea

Ipsa ctiaa* egragte voce MaauiiM caoil.'*

In this work ia coataiDed Ibal adnnrable oonpositiav
of Tallii, <* O tacmm cosaa'ataai." better known aa tba
milhiai, •* I adi aai try,- ubidi «a
la A* aatoa ef tbe Maiel^ hfSkm
Ballnvaf Oilwd, a an a paal ]
to Ilia vaiM by Ma alteaifla to
orthogrmphy, eommcnds " Abiterqe Dcmim" tlie
cond of the Cnniioiu'f Sacra of Tallis, in tha bighaat:

•cience ot mucKkt.-. ami Ibr tke a d n aa f i— at tllefao<, hj oar
lrUM»-pat«ol*^tea the \XU. U Jtmmgfp tolh* XVll.}rarc of oox
raigne, banc framlpd fall priuiMa* aad KcOTC* ««(0 our wethpIoiMNl
■eruanii. ThotnnaTaHi* and William Blrde, f>m. of mir di.v!*'.
aarf ta ibe ooerliver of them, and to ihi- uMiw-rif-'** of thi-m, iiml of
the iiiniiTiT of (hrm, for XXI. year, ncjl momtmg, to iinpnnt aaj,
and to nuinv a. tlwy will, of set of wage or MOgM in partfi. either
Kagliali. Utia«, FrencU, lulian, «r other toBpiea that n«ay a etaa
for Riuaicke, aidMr ia church or chtmhte, m adMnraya to bt Maw
AailhMlbey may rote, aatf CMM» to be nMbf to^
I aMtatoMTue for vrm&BK or paicMaf Mme* or

May aril andTMeraajr priatei bafcaa or paper, of aay
•ongr or •on|[««, or any book*, or qoiere. of »uch rukJ pup<T, iin-
pf intpd. AliMj we jtniiilj hy ilii- same futbid all printers, b<M)!iLi-<«1lers,
•uhiecu and «tran;er», oiher than a* i. afbreaaid, to do any tba
premiaOTa, vt to briai; or eauae to ba bioagtM o«» of ny foma
rtahnea into aajr our dooaifrioOB, aay aonge ot iobk** aiade aad
ptint«l ia aay forrea coontna. to lell or pot to w)a, vppoo j)aine of
oar bif b diiplramre. and the ofcnder in any of the prcaiuMa Ihr
eocn- time to fnrfch !o v», our hoiiv» sinit »ticci-Mnr«, foftie Uiillin^,
and ro tlw ««iH T!hii.i;h Tilli. nr.l Willmm Bird*, or U tba >r a».
aurnes lod lo the aMfor. of thr lurutrec of tl>*» aB laa^ ffasg
ilii' «i^d IxilnM, |>apen, aonge or »oi!?f<. We taa*al t> mj f lao Si ljia
wiOed aad commaaadad out printer., matMHB ■tfaawarofltor

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THK HARMONIOON.

terms, and m&kes use of tbfl anthority of it, for MTcnl
jnrpoMfl.

It is commonly 8«id, that Tallis was orpanistto Henry
VIII., and the three succeeding princfs, his descendants ;
bat it may well be doubted wh<?tner nny establishment of
tbekind was known till thebet;innin);of (hp r(-ii;n df Qtteen
Binbetb, wheo Tallis and Bird were scTcrally appointed
OVpniltt of the rojral chapel*. And here it may be ne-
eemry to mention, as has been hinted before, that the
early foundations of conventual, cathedral, and colle-
mtm cbudMS in ibis kingdum, although less ancient
ttui flw fnlndBDiioB «f oignt into the church aenrice,
'take not the leul natiM of awh am <Aear at tbe organist,
bat are endownenta vaSkimlf la frvoar of canons, the
greater and tbe less, lay vicars or clerks, and choristers ;
nay, farther— no provision for an organist appears either
in the list of tlin clioral establishment of Erlwanl VI., nr
in that of Qiiec" Mary, (bough in both trumpets aiul
players on the tacbut orcur. IIptuc it maj fairly be
])rcsuTnp<l, and Dr. lipnjamin Kogcrs wa.s of this opi-
nion, that anciently tho dutv of the organist, as well
in cathedral and coUegiate diurches and chapels, as io
abbeys, BsoailiieB, and other religious houKcs, was per-
forated by some one or other of the vicars choral, or
other members of tlie choir: an evident proof of the
floariaUi^ itata of music among us in those early times,
hthiitivirt and in this only, can Tallis be considered
m affMbt ta Hauy Edwaid VL, and Qneaa
Mary.

Notwitbstan^Kng that be was a dnigeol eoUaelar of

musical antiquities, and a carefnipemser of tbe work* of
other incn, the compositions of Tallis, learned and de-
irant as they are, are so truly original, that he may justly
hv sfiid to be the father of the cathedral style; and,
th(ni(»h a like appellation is i;iven by the Italians to J'a-
lestrina, it is much to be questioned, rrinsidcring tin- time
when Tallis flourished, whether he could derive the least
fldvaotage from the improvements of that great man. It
nay, therefore, be omjectured that he laid tbe foaada-
lion of his stodies in the works of the old cathedvaUiti «f
Ihto kiafto* and fiabaUv in those of tha German mo-
rfdaaa, «ha to Ua tfaaa had the pia iriawee of tha
balians ; and that ha had a« emalaliwi ta cacti etan
tbewi, may be iiiumiad fkaai Aa Ibllowing paitfealar.
Johannes Okenneim, a native of tbe Low Conntiiet, and
a disciple of Idocns Pratensb, had made a composition for
no fewer than thiriy-six voices, which, Glareanns says,
■was greatly ail mi red Tallis Composed a Motel in forty
parts ; tlit- hi^tdry of \>|iicli sltifH udirus Cuinporitimii as
far as can now be traced, is as follows : —

It was originally coinpsed in the reign of Queen Eli-
aabeth to the Ibllowing words: " Spem in altum nuiupiam
kaM fnder in le Deut Itndt firf iToscerit, el propilius
mil, et omnia peccala /lomimim in IriMatienf dimiilis,
Domine Dens, creator call el term, ft^fkfl hxtmddalem

tun/tram." in the reigo of the lint «r aeoiDd Chariat,
aome pentn pat it into EngUA wotdit which wen nei-
iharveiaa nor prose, nor even coinmnn iaaaa; and it
wac probably sung on some public oceasfam; but tbe

composition with the Latin words coming into the hands of
Ifr. Hawkins, formerly orf;anist of the rathe<lral church
of Ely. he presented it to Edward, Eiarl of Oxford. Dili-
gent iiearcL has been made for it amongst tbe Uarleian

llalho

manoacripts at tbe British Museum, but vrithout effi>et.

As to the music, it is adapted to voices of five difffrent
kinds; namely — tenor, counter-tenor, aitus, or mean,
and treble, eight of each : and, although every musician
knows (hat, in strictuessof speech, in a musical compo-
sition, (here can in reali(y oe but four parts — for when
there arc more, some must rest while others sing — yet
this of Tallis is so contrived, that the melody of the four
parts is so broken and divided, as to poduce tbe effect of
as many parts as there are voioet to sing it*.

It is somewhat diHealt to aecooat for the pahlicatioB
of tbe CanHonetSaefa to Ibe coridMl words, at a thna
when it i« wdl kaawn that car mntijwM ceaiulekly
settled, and tte wbola of the dwrdi aarriep waa W fair
required to be performed in tbe Enalisb loncne. It m tree
that the first act cf uniformity of Edwara TI. allowed
great latitude in singing;, niul li-ft it in n preat mensure
at (he diiicrelion of the clergy eilluT to Hilnjit (he nirtrical
psalmody of the CaUinisIs, or to p<'rs<-M r<- in ihf use of
the solemn choral service ; and ar<-ordinj;lY wo st-e them
both practised at ibis day : but that the sii-.i;ing of an-
thems and hymns in the Latin tonguewas permitted under
the sanction of this license, there is no authority for say-
ing; and, indeed, tbe original composition of music to
the Latin serviee hj Tallis and Bird is not to he ac-
counted for, hot afga a nppMiliaa» which ihaie ia aolbaaf
to contradict, tiMt they woe cf Ibe Raaudi pwinaiiw,.
and that the Cantionet Saene were co m peaed nr the nse
of Queen Mary's chapel. With respect to TaUia, it may
be ebeerred that his name occurs in a list, yet ealaal, u
her establishment; and as to Bird — that, besides liit
share in the above work, there are several masses of his
in print, which favour the opinion that he was once of the
same communion.

But, notwith.standing bis mppo$ed attachment to the
Roman Catholic religion, it seems that Talli.i accnmroo-
dated himself and his studies to those alterations in the
form of public worship which succeeded the accession of
Qneen uiabcth. with this view, be aet to nasic tbooe
mvcmI paitt cf tha Ba^faA liturfnr which, at that time,
waradaeaad tha Boat proper to be sang, aaatdy— the
two Mamtof^Servkai, Ine one cbmnrehending tha Vnkit
amOsMMii lb Dmm. aad Bmuntbui ami tha aiher,
which it part cf tha O— nBloii oliee, consisting of the
Kyrie Bleinn, NicemOMul, and Scnctus: and also the
Evening Service, containing the Magnificat and Nimc di-
miilis. All these are comprehended in what is calird
Tallis's first serxce, as being the earliest of \v,u compt<scd
by him 1. He also ict niuHcal notes to the /^'rcu < and
Responifs, and compo&ed that lilany which, for its excel-
lence, is sung on solemn occasions, !■ all plieaa whoa
tbe choral service is performed.

As to tbe Prrces of Talli.s, in bis f rst service, th^ an
no other than those of Marbeck in hb book of common
prayer, twtad ; tha Rapmuet ate very different, that is to
say in the tenor part, which is supposed to contain the

* Tlier* are evidentljr Mme enon ia tliia paia(fB|ih, which wa
have in »»in ■tlcmplcd to rmifv. — [EniToB.1

t U niAjr be renarltiNi, il.,.'. milirr -.hr Ore la '

the Mominy , not Canlnir Daintno and Urut mtttrratw ID the EtCB-
nti: l'ni)Fr, occur id lliii irrtice of Tallii ; Iha MMOa is, 'that ia
t»i« tiril MUtrmrnt ot the choral tnict the* waie aM iaclaM,
lb* aMtaaaicM JteWM bene >>>•* of Dr. <MM, aad Um moat ■»•
ciwn JUsess^sniifiT Omx of Mr. StHMmi boih prinud ia Bar-
to Aanto nao IM «*sa in» il

Digitized by GQOgle

THE IIARMONICON.

Wlity: Mkltfte htf infiOTvil dMn by
IliM fmtt, mA Itew^y ftfmd a jndicio
tnvan the MBBliMliaM flf the frfcM lad t

the addition ot
licuws conlnut be-
ef

I anpplieeliaM ef the |rfMt
IheMOfile, as repreaeoted by ttedn- ^ .
- The wrvicee of Tallit contain also dianta for the F«-

mU exiiltemtu, and the creed of St. Athanasius ; these
•re tOD^s that divide each Terse of the pMlm, or hymn,
Mseoiding (o the pointing, in order that the whole may
he i«nr altenwtelj bj each side of the choir, as di',tin-
|t:nished by the terms decani and cantoris, expressive of
the dean's and of the rhaiitors' side. Two of these

cbanu are published iu I>r. Bojce's Catbednl Hutlc,
«d1. 1 1.

^Ihe cm of selecting from the eommon prayer the
** to be sung, was a laatter of some im-

Ij as the lubric coataini no dinelioni
I it : far llm leeaon U h rapixned, ttat the tauncal
fUi of Qmm Eliiibeth't liturgy was letlled by Puker,

* Amonii^tt ihf prin-s nn<) rrs;'^.n«<« is niimbeml, impro-
per!;, the iSloHa I'ntr, aa aoog before ttje Vtnil*. Il ii here la-
ssrtsd aa a •pwinen or the wkol^ bat ia a cowpw m i fmt
ttoaph the fear pMU, wtpttaok Malia-UMr, (eaw. aod Imuc^ aie
complete. — [EoiToa.]

^imt.

Glorr be iollieRttbar,HrftodMaBa,CB4lolhcHot)rGbotl.

Chorus.

~M r1 f f ff

As il was ia Hm be - giaabv, ia mem, aad

H^T"f r r f iic~^-

1-^

' — I-

a • wr sImI ha» ITotM witlwat aad.

i i J. J J. ^ ^ J.

Aidibisbop of, Oulerheiiy, who, betsdei .that he ipt ft
greet divine, an emdlenlcnoa-lawyer, and fitilliliHj

bmUbi Ae oBon ebeM-BenHonedt uwiUtatfag nkHlt

are now called the Morning, Conpranion, and Eveoiog
Services, in four parts, with the preoes, responses, ana

lilany, that is to sAy, the versicles and suffrages, Tallia
cornposcd many anlberos, namely ; " O Lord, give thy holy
spirit," in four pnrts, " \\"ilh all our hearts," " Blessed be.
thy name," " \> ipe away my sitis," and others, in five
parts, which are printed in a collection entitled, " The
Ftrsl Vnok of teU'cted Church Music, collected out of divert
approrrd Authors, by John Bernard, one of the Minor G)>
nons of the Cathedral Church of St. Paul," 1C41.

Taflis died the twcnty-thirti day of November, 1585,
and was buried in the parish church of Greenwich in
Kent. Strype, in his continnation of Stowe's Sure™

CbUshed in I7M, Mm thtt, in kis drenit walk roona
ndon, he found in the ebiMel «f that chnreh. imn ■
stone befbte the nilf, «lran>pbtethniiaMriMaieM'
letters:—

rofjo for long tvmt in muSifft borf tf)t bell :
ilts nami to i\tt\a, ioni C|)onu< Callftf ||j;fl$t,

Acfmtlr tons tpmt in ct)app(l biti) grttt prantft,
;fi»iBtr ^oiurtygnttf ripcrnrs (a t^iag net efttn «cttu)

9 Mcm king ftcnip anH ptprnt tEVfeNntt'i l^fM^
flflfW^Uxy, anK CU^abtt^ our qumt.

Ae IB«|A futf, t^M^ i^tOrmt %t ijatf nont,
fbA Iptifll biliwfdl||n nA tij^trtp pm<

Vptl^ lopal <pQiu<(, Inmost nanu pcbpt ti»a< 9on^
CBit)o Ijrrt tntomb'tr, l)im rompanB mto htJM.

%i ||c DpD Iput, so aUo tHit |)t Hp,

^ mpltt anH qapit <ert, ^g^ippf
CnOo^ ful oft for mrrrp IliTl ^tlg,

Vttrtfou ijt Ipuf s, let Uct^ lit fi|at cw.

The stnne t» vhfeh thh
Npdnd by Obmi AhWch*.

* Tberr was siM ia the old cboreh «f QicMiwieh, aa iaieriptiaa

on brii» in mi-mory of Ricluird Bowtit. (rrnili-man of the cupel^

and ma^iiT nf the cliililrcn, unHcr Kinj Mrnrv , 1 d^Hrd Vl,»
Queen Mary, sind Qi.i-en KliiBl>elh. Ilr HirH j'^tli Julj, ]&6l,lill<l
wai •uci r<-.li'H by Hichard VAvimrxi% frotu UxfurJ,

The rlii;rrh linvinpberii n'hnilt about tike year 1720, all menvo-
riala nf i imiih d' [ i i sons a» had tliere beirB inletred urerr-, by

the baituinuK unler uf ^ouie ignoraot peraoD*, dulruyed. — [Bo.]

t Tbe flfat of tbew chantt, which ii io very conmoD uie io all oor cboin. b hcra aivea. adapted ia lb*

ftM-CBMiea.]

asUteClpfto

Oeem^ktisriH «
■ iji •

> • te tha Lti4i

-o-

0| ■ o 1

lAasbseililri^BtMhithesiMflithsf oor mi - ve -

i o =

1 r\ ^ m 1

Digitized by Google

THB HARMONICOK,

£Tbr Mltjwinf rfmarku, extnutrd fnim a pam^laC, Miwlie-
tame jirirrcp, cnti^M, " Ofwi-TTHtiims on the prr«en( of
Mimic in Londun. 1790," are §o eiceUent, of iBcb pcnrnil n[>-
fBeithMi. nd trt the ume time ponew mb wa; ht »• rnii inc:
mi the pn cf m aMe nd aliMieil tLUoMm as JKiEtoD.Hlmt

t» torn la Hind, llM «• uaklriOl «iawr if

olMemtloiM, wrote them Ax-wni-t}ittf jMUt Bfai, fcaAm (ha
beet of H«ydD'» mink wat eren eompmti ; niieii Ae aanw
•af MiMart wat unknown among us, and Beetboven had not
aajr public exiitenc*. In the Ilatiau opera, in fymphooy,
ftiartett, aad other branchea or instruiacDtiU mu.iic, the urt ha»
aide th* Dioat ■ctoaiahin^ adranccj tince thia able critir wr<it<- ;
and. ttiODf as vaa bb predilectkm fur aMla^, be w-uuM probably
iMia Haliaid witit delif bt to aMidam haaaaajw had ka haatd
Bqrdn't Cnalion aad kn twdfa ayp hai ii aa ; ar Maaait'a
compoiitiuna in erf rf clan.]

*' Music i« so much the raqe, — to iise a fashionable
terra, — that some remarks on tfae present sf vie of compo-
Sftkm and performance, majr not be nmicteptaUe In the
|nbtic. But this, perhaps, is a hasty anertion ; we
■eannotCeel much j^mtilnde for the philoropfaj which de-
■HMHtnttea that we ooght not to h<^ pleased. Horace's
mmimm ia too trite an example to he quoted : but if
I nqr ^ ^ amaatiana of olheis bv mjr own, we
mn not ■ I H f i H iw to lli i ilf riw g the i ifc iiiM mmy be
to^vaiiiih» and mOHj nbttifiAed, wMinI Am*

rest awl aneat c e cb eii thif ykasare

■which the mind can ii"el, arises from Ml sic, — 1 addres-S
nivself to those only who haw an ear aiul Idile, — surely
any attempt to hei^htrii that pleasure is laudahlc! : lunl
if, oy some untowanl and unfortunate circumstances, our

rient pleaaara is derived from impare sources, it rannot
amiss to show that tbcy are m ; and, at the same
time, poMt oat olbera wbidi, by being more |Mifet tie
wkbmbtedljr more oaptble of ptodadng that eaquirite
mmUmmyjbUk ii ■ lfc» wchiiw pwaefty of aMileto

•*.PKmnOT nunc— If mj idea be just, is tfae
nalting Mbiosy to HAKKOinr. Tlioiwlk theMristance
irMek each iiiMlfei fwm the ether & immemm, yet
Mklody is belt q|nilt6ed to exist alone. The pleasure
cxtiteil by a saeeeasion of chords, is very inferior to that
natural, and sontetistes artificial, tuccL's.siixi of single
aoeods, which musicians distinfpiish by the term nielo<ly.

Th )ngh not absolutely unknown, melodv was in a
barbarous state till the last hundred j'eara. ft long con-
tinned Impmving, bat now seems, in this UNUllJf allHnt,
to be in a fair way of losing ita atiatnere

"In oontequence of muaie hehig wmA Btnliad and
|l«rti«ei!, VoOAfc «d iMAnOllBKTAL M KLOOT be>

wne two diftnirt thngi: h ia naeessarj, tberefoire, to
wnidw Ibaa MMMld^.

**YocAX Music hiid omb mOiut hUt Wmoov to
idbciston: by degreea, aadofy vm adaadt andnMrilii

Tery near being lost again.

'■ In the gram! op<!ra, songs tnny W considered as pa-
thetic, bravura, something between the tttxi which ha.s no
name, and «in ealled camtin,j. Generally, the last have
moat iMlodj.ud the first aort have least : bi^it ii acarae

If* - -

have been •n-om tn rafs, how ffcw of '
the least trace of real melody! TMa
remain an fts«ertion without pronf, unleis 1 ctKild define
metwiv whK-h 1 rtHilU caanot, so as to hti intelUpble to
those who have no cur ; and, to those who haTe, a defi-
aition wouUi be useless. But let me ohsene, wbem
smtitds follow each other in thai arranj^emeBt wecallft
TusTK, baaidas the imaiediaite ptMaore, there is atwa^s
joined wMk h m t rn mnti o m , whkh enaUes ea la re-
■amher faa^ea, aad aenelinwa aa t a ti i u air. Bat
this is never the case in a fortuitons or oaaieaiiing sac-
eessionefHMi*, Lot tba aaiie ef the prescsit dMr ha
^weidMd hi thlv hdMHa,' airf *e greMer part «■ |«
foand 'waailiog.'

" These same obserrations will apply to the opeM
niifTo, omitlinp tl>e term pntfi'-tir, and substituting; atrntc
in its jjace. Hut it is lining Thalia very ill, to call the
nonsensical faUy of thi^, *lrHiiia, comic.

" 111 the English opera, the composers very wiselv adapt
some of the songs to luiics which were Cf>mjM)S«-<l vihen
melody really existed : and it is curious to observe how
glad t>ie audience are to find a little that is congenial
to their feelings, afWr they hsTC been gaping to take in
saoM aeaaiag frain the mctdied imitations of Italian
bravura and pathetic songs; wbidi, alaa I are bat ' Aa
shadows of a shade*.

" Aa the aoags whieb aia pcrArmed at Conetfto ana
mostly taken fimn Italian operasi they require no addi>
tionalobaamliong ea the merit of th" comp u iliiai i. .

** Another nrt ef anie frequently forms noiC of 4Wt
entertainments, called Glees. No'doubt, toe nnBfaw if
three or more Toiees in harmowr, produces a uleasins
eflecl. But why is ineltHly to banished ? .And ba-
nished it is SI) tolallr, that, of all tlie numermis dirges
aud (lideful ditties with which our benefit-ronci ris are
su sorely aHlictetl, — for they are too grecioua for fwiwiow
use, — scarce one can be found that has half nilMft tMI
as one of Claude te Jeone's Psalms.

** If oar Vocal music has dismissed melody as unne-
cessary; our Insthu.mkntal music has closely followed
tbe bed example.

The old eaneertois naw loot, and modem fall fiasM
tat cither la the Ibm af asertam or symp h oaiaa. Thi
overtareof the Italian opera seldom preiende to laadi;
that of the English opera always cMeavaaie to hava
an air somcwliere, and the endeavour alone makes it ac-
ceptable. As the first movemeut of the overture is most
L'iiiiiiiii)iil% likf that of the symphnnyt wIhc 1 iwva

of the hitter "ill do for both.

'■ \\hfn Ricliter introduced nmonp; us this style of
music, it was justly admired, beinp; ihc first instance of
attention to the difl^nt character of iiistniments.
Ricbter was very successfully followed bj Abel, and
many others. Bat latter com|X)sers, to ha fiand and
origiiial, haiw nataad in such floods of noniensc, nodcr
the sabibna MeTor

being inured, that, general^
speaking, the imaMrt qmlion bya theiay ndrtfai

to good musK, as toe ravin^pi of a Bedlaaute do tooaaar

sense. Sometimes the key is perfectly lost, by wanderiflg

so far from il, that there is no road to return ; — bowerV,
extremes meet at last of themselves. The mcoiure is so
perplexed by arbitrary divisions of notes, that il seeiM
aa if the composer intended to exhihit a table of twofi,
threes and Cnus. And, when disoucds get so ealangledt

Digitized by Google

THE HARMONICON.

m io TWflfT ft pmM th« trt of man in untie th« knot,
iHiioeihiiii^ ill the place of Alexander's swonl does tbe bu-
aini^ ai iinoe. Al Uieae itallrjr oliifti to '^'■g*'' the
mnt of air, can ntmtr be admilted te suppljr ito place.
Jlepead apoa il. rowpn—"' J'***'^ wlKiifiito Jfcmgin
tie place of tone, if tfaer gdhrfawaitil-lBg fciiiia

" when Ave u r«a% air, it inll exist under all tke

to eaea|ielbe«ar, and
I ft jnMm tfiaii|» Md dl the firtimmo, that Uddting,
iathif, iMHCtiu ind daaunine caa bestow'
** Lai h IMR te JiMf fui'd tfjBt 1 with to burlcf^que cx-

prtrssiTe performanop. I am only shewing mr thortnii^h
eonteiitpt ol that wretobed staff, tbe eMatenee ef which
•bogetber depends vpOB nwchwinl'MiMliMBH^ while
the ind is wanting : ' ] .

• TluM Uarl«qiuii eztoHed hit haft
Pft fur the WW, tbe read, tha wu i— »
Hi( mouth MH idk, Hi ajre was foo9l

Hid foot «9 »Brp M eT*r trod.

Oiif liult he iLail— a fault uuUtid !

Praj, wha* waa tliat ?— the bone waa 4mA t PSioa*
tin «• hn« leea IsuAj wmA ti hm im the

f* The tin «•

ilUdle and kat VMniMli of the ifjiqihony, HIS ftr ih
Moat part, ^adiih,«rf w hm Ih ey >w—t«e. theyaw gr
■ a ralg r vtdgw ; characters attthier cuking the piece, iiur
tako/ OH^ftt. at this time, to be the taste of tbe audience.

Tbf Qt An iKTT nnd Tnio are in « mnrh more
respectable s\\\f ; i\s arc CoiVCF.RToB for particular in-
MnMneiits, thosp (or tlip piano-furte excepted ; tb«Ne
Sccin lo have aliandouLtl that style of luclodv, so pecu-
Irarljr tin- pnipfrly fjf this instrument, and to have
exciiiiiigcil ilic cttsy How of cxeculion, which it cost so
taaiiy years to establish, for staggering octaves. The
cadences are intrariahljr the sonkc, and the worst that
could be iaventi-d by <a iMiciiiatiea perverted in the
extreme. The perfemer, no oonbt, engnt to be able to
mil from the bottom to the top of the keys, io semitones ;
htt Jflthki ha — «i-<t-J fiii, lif fti^j ibe power, without
00 an oea ui O M, fbr.fOMfaliy speaking, the
[■the passage ts to the loot decree detestable,
I^^Tlie most plMisng of all instrumental compositions,
il the CoNCERTANTK, for three, four, or five princi|)al
performers, si-pporled by riyti ni. Whether thi- contrast
ol th(> fiifTrrriit inslriimeiils brccm(*s « sort of suhjrtituto
for irM'loilv, ami ih nametl an uttli ; or wb«^thCT Ih^re is
really more tune in the Conrertante, or wboiber we are
more iiiteresited because of tlie excellency of tlie periiirni-
I know not ; but it seems as if air subsisted more
n tbia, than in aav other Opecies of instnunental mn^ic.
'jl»mat I have Uthcito advanced, aclates to vocal and
itltrumental Cohpmitioii ; with tfia exception of some
hMidental reniaite on pnr^bnninHv, irMdi givwont of the
■dijiLt. But there iynore to fa«edded on that bead.

Tbe porfo r aia J i e B of single aongs waa, peHiapK, never
nrther remoHO from truth than at present. If there
ware a possibility of writing down the sounds which issue
from ih^ month of the singer, ray r^nnnrk iroiilrl be ftrtly
JosUfied : — hut, unlVrlunalely, Itnt-s and ipaceii will ex-
press only mutical intervals. Words spem as little suited
to the purpose ; for, how can one describe the encom-
poTjinp n Tin', with frippery fltmrishes, that prevent the
^^'T^llll'^^^i^^l'^ lha ei^jipttt tha tkae in

" WoatewH- ob i ec t io n s may
of svouihoDiea, ue perfarm'ar
the; h| p w i > jpnte. The yerfi
~ ; Mefl,^aiid aotUnc alae; •• is

6iHng up an inlervai with something composed of a ttide
and a tkout, by which meant there is no int eiw ri t all f
" These aie sobm tbiaga, howeter, which may be
described : such as fordog the voko in the upper part,
it «imM '«<V ho soA, and singing Uie hmr
■faaT^Ma always hem CaAMmiA,
ibr waA em^ m tmdMing «hA though A aome-
tiauM Mam aa if jt wooM nafw con^lnde*, — and every
•hake with jyreeisdf the same tnm after it.

'^The yci tw uian ce of Cbosusbcs ic as perfect, aa
that of songs is defective. The real notes are heard
without disf^uise ; h«'iiee, tliough the composer is lost in
the sonjf, he is found ai^aiti in the chorus.

" .Vs there is nulhiiij; h, t Il'.toihh in lhe'Gl.EE, the
pTf^irnianre uf it ClIIjiiijI I ■ l il^ltirvi. Tbe notOS, of

necessity, are sung simply and tru<-, to preaerve thck
puritv of the chord, which is all it baa to subsist w.
•< WbatewH- objections may be male to the con^n'tisit

nc& of Ibem is entitled to
Former playa jMtirhitt h*
iBinc Mae; •• » geneiadly n» oaaa with
most iostntmentu nmsic: indeed, it is ineonmanAly
mora pwe fai lis esccution, at prnaeiA, tha» TOfBaC la n
not rather rnxninmon, that «m hrandiea ftaia tl|«auM
fitock should be so ditfereat?

" The notes of a sons; are broken into so many parts,,
that \ iii tiiidh l<-.-:e their c.\i.-teiiLe - on the contrary,
the |: i l 1 11 i:Kr a ^viiijdii;nv. \"c , i-- pure and simple.
In lirc oi»r, every t^uitg la tjol upi lu Uie other — lo borrow
n phrase from pointing — the parts are kept broad: and
breadth of eibct ia pa necessary in mpic as in painting."

ON THE CHANGE OF THE C CLEF.

TiM» Coitii*CTOB> ^<IW HlaHoineoir.

Although the musical world has bad good roasoti
to complain of the ^reat difiBcnHy attendant on the use
of tbe C def, particularly in 8Cofe>reading, 1 am not
aware that any pe ra oa has aiie m plad to remedy the evil.

Permit me, tlien, through the saefiam of your valuable
work, to recomifiend a cninge in tbe situation of that
clef, — to place it alwmja io the thinl apkoet — bv which
means, it will gt«« IwaaMaiMaMitolhe ttiMt and spaces
that tbey now derive from (he C def, though tiw aouuda
will be an octave lower ; and (has utility and legibility
will be combined.

Jt appears neeessnry llint MJiuelhinp should be done to
prevent the inonliiiiile u>io of llie trphle-clef, >vhieh of
fate years has been too often improperly prefixed to alto
and fennr parts. This will be effocied, if impartial pro-
te.'ssoni, to whose notice this suggeslioa is with due defer-
ence mihmUled, agree with mm in the proposed alteration.

The subjuioed score, to which the new si gnatur e ia
affixed, will fatly explain my purpose and superav4a«Bf
further ofaaervatioB. 1 have the honour to h«.

Gentlemen, Itc. te..
•.SMM^. ■/ , An Amatkur.

* While liUle Min forty, whom vmut imea, by-iha-by, ooe eoa
- - - f «Mt one of tm eteraal

Doe, a aailor ia
iVaisa<''Flsr

Digitized by Google

THE HARMONICON.

Ckuini, in C.
TimpQM, in C.
Comi, in C.

Trmhoni,
AUa e Tenor*.

Trxmbone,
Bow.

ClarinetU,

FlavH.

Fagotti,
t Contra Fagotto

FioUni, I, 4-

Viola.

Soprano.

AUo.

Tmaro.

Batto.

Bami.

<j>-r

The

Tl»e

Tba

Tixt

He* - - Trni are

Hes • • reni are

Hea • - TCDi are

_j J.

tell - - - iBf the

1 f r

- . - ing Ihe

icll - - - ing lha

tell • • • iog tbo

plo - • - If of

g;lo - - - ry of

glo - ■ ■ 17 of

jto ry of

Cod!
■ P

God!
^^^^^

Goo'.

Goo!

THB HARMONICON.

OH THB HIWGAL DBAMA.

of Bfgo fm i w ri M TMn JMm<>

taU Jtalitmo.J

The term opera conTcjs the idcft Ml of «m digit

■nfef dBHrattoa, ud ptnnnhnc. 11w two lollor ore,
lo« eortahi degree, aeoeMorico, Imt the tn Ibrmer aro
i» inlimatel y connected topper, that to be vnderstnod,
ther must be considered in their union nnd relaliou to
each other. Nor is the whole result of such a union so
repugnant In truth and (xmsisteiiry as some have pre-
tended, who wfTP Ipd to consider it as r\tr;ivaf;nnt that
heroes and heroines should rxpres'; their ]n\H and their
sorrows, their anger, and their lore, and even sometimes
thr ir reasciningpi, in song. All this might certainly be
considered as absurd, were the order of nature intended
fa be followed ; bnt loch is not the case in the musical
dnaiB* wUeli, like the other iinitatire arts, has not so
wmA in tmnr lh« true itself, as the representation of
llto tne; it b not, therafiin, required that nature
obaoM ban be noortnmd in her hira limplicity, but
Oot tbe abmld be heightened and embdlislied. It is
BM expected of the painter that be shootd merely depict
irilh fidelity the human form ; in depicting it, he is also
leqnired to idealize, imparting finer proportions, nnd a
greater perfection of colooring, than that existing in the
naked pmtotype. History informs u?, that Zeuxis bein-;
desirous of painting a portrait cf the [)cautciius Helen,
and not finding any individual who M|unllcd the exalted
idea of perfection which he bad conceived in his mind,
■elected from various beauties their most striking charms,
and united them into a whole, it is required from
tragedj, that ihe sbonld point tbe passions and varied
diaraelonorMnit bnt that ifae obouU i^nt tbem with
the instruments poediwto borwt, thatuin TCno.ai>d
In a poetic style. If (be eaio wero oAerwioe^ if abe
bad io doacribo ttiut as thej really are, die nwM be
«Hi|ad to make a Mabomet and a Zaire speak In the
bagnage of the East, and not of fbo Woot { ia finOiar
INWe, and not in heroic verse.

Thus music imitates nature ; but she imitates her bv
the means which are peculiarly her own, by modulated
■ounds, and by song. This lanunagc, through the tacit
convention which tues place b«twei!n the hearer and the
musician, posncsaci no less verisimilitude in Itaelf, than
does the language of verse, and the arrangement of
colours, because the objects which music proposes to
imitate, exist not leu reallT in mtnre^ tbaa thoae which
painthig and poetry nndertaka to Inltnlo.

Benoo, to oocuse the nmsioal dnina of infnilneing
nnbnaget who sing, is tbe same thing as to eondeom it,
Because in effecting this imitation, it avails itself of its
ovrn means, instead of having recourse to those of the
other arts ; and to deny that there are no sii<:h things in
nature as are filte<l to be imitatetl by modulated sounds
and song, is in oihcr words to deny that music is music.

Having thus cslablishiHl the first fundamental law of
the drama, philosophy requires that a solution should be
^ven to the following problem. ** The intimate union
•rpoeby and auiie Ring oOowod, what dwiwes must
Boeessanly result fiom sneb an dHanoe^ in forming a
dramatic whole V We wiU toy, if poailble, to place this
y rtw i in a dear point of Tioir» aa it naturi^lj leads to
liMHi wy important to ^ tn^fWf 9( mmc\ ao^

Tte.IT

if we mistake not, the aolotion depends vgaa a doio
examinalion^ OeidnlioM that edat botweea Ibo twio
aria.

The poet bot tbroo fbiafi in view ; to wm% t» do-
aerib^and loinlniel. Tno poet moves u« dinolly, Igr
dwdling on tboao diconttfaaces in objects which bear a
more immediate relation to us, and which, consequently,
awaken our interest : he moves us indirectly by rhjthm,
poetical cadence, iiiid the harmonious disposition of
words. It is tliiv latter which renders poetry so apt to
fiirm an alliance with music ; nay more, it 13 this pro-
perty — a property which to a certain degree it possesses
in common with eloquence, as well as poetry — that is the
foundation of imitative melody, or song. Poetry de»
scribes, sometimes by investing spiritual and abstract
ideas with material iioayoa i at others, by assembling
the beauties scattered tbraa^MMit nature, and centring
tbem in a single object ; at one time, by roeinnKo]i|y
tranotering the propertioa of one being to anedier ; aC
nnotbert oontrWing, ttat tbe eollocMon, pnmiaieia-
lion, and very sound of dm arbitrary signs, or words,
should perfectly express tbe image created by it in the
mind. In this last property, too, is found another; and a
forcible reason tur the analosy existing between poetry
nnd music ; inasmuch, as the greater approximation
th. re is between the poetical expression of the words,
mill tfie nature of the things represente<l, the greater is
the aptitude of music to itnitiile tliem. Poetry instructs,
in seeking by means of her knowledge of the intel-
lectually ns well as physically beautiful, to lead men fe
the knowledge and love of the morally beautiful.

Of these three attributes of poetry, music claims only
two ; to move, as her main and principal object ; to pain/,
as her secondary and mbordmate one. Music mover,
at one time, by imitatiM, Ummgh vocal melody, the
interjections, tbe sighs, ne aaoeiNf, aad tbo inflexions
of common speech, whereby aro awakened Ihe ideas from
which tbe passions originated ; at another, by collecting
these inflections from tbe impassioned tones of the voice,
and uniting them in a continuous song, or tubjed, as it is
called ; and then by set^^king tfarmigh the medium of
harmonic sounds, of measure, of movement, and of me-
lody, lu touch tbftse nerves which, bi'ing acted upon by,
certain, though inexplicable laws, vibrate to the varied
pa.ssions of hatred, love, anger, joy, or sorrow.

Music painit, at one time, bv imitating with tbe sound
of instruments, learnedly modified to the suitable musi-
cal rhythm, the material sounds of those physical objects
which are capable of acting upon oar miiM when we near
them in aatnro ; sncfa, for instaaea^ as the din of battle,,
aad the war of demontt : at another, by awakening, by
means of mdo^, the oeMaHoM prodnced on us bv tbe
images of those objeets which, as being incapahla of
sound, do not fall within the sphere of aide; soch, for
instance, as the tomb of a lover, the perAune of flowery
which belong to other senses than that of hearing. In
the place of these, the musician represents the eflfect
caused in us by tbe melaurholy view of this monument,
or the gentle languor pnxluccd by the odours of flowers.
At other times, music excites us, tbrouyh the medium of
the organ of hearing, by movements nnaloj^nus (o those
cxcitea in ns by the other senses 1 as when, lor instance,
the nndeiaBt widhlniK 19 envess tbe tranquil repose of
one wrap! in dM^^ 4o «sp "Bwice of night, orUie
majestic solitude of nabne, liawpofies, if Ihe expresaion
may be allowed, Ihe ije iBlo the oar.and jeiaH Ifci «»i

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TUG UARMONICON.

jcBtion nent awcwfakii possess the spectator in
contemplatinf sndi obl^ts. Bnt the reader will excuse
ine for not entering more deeply into piints like these, Icsi
1 might seem lo be too mnch nn enthusiast. I say .f.em,
for the t'xtranrtliriHry niaiiiier in wliich sautids act upon
our frHtnc, and the iiitlmali' n'lalinn and ^.ingular reci-
procity of feclinc iluit ]i;issi' - iietween the senses of sight
and hoarinp, have occ upied tlie attention of that createst
of philosophers, Newton, who has thrown much light
on the subject in his Treatise on Optics. But not being
TtmuMWj connected with niy argument, I shall past it
over, as likely to lead me too far from mj subject.

To instruct does not directly belong to the province of
tattsic, because being destinea to spe«$ to the Moaes, and
through then to the heart, and' namg no other mode of
ruling bat that of movement, it consequently has not the
VMans, of arriving at abstract reasoning. Musical sounds
are nothing but sounds ; thny can rcflL'ct .sonsalions and
images, but in no way ideas ». Music. howcvLr, may ac-
'company the instructive sentiments of poetry, il not with
the living expression of imitative song, at least with the
agreeable aid and additkn of meamie, nevemeut, and
lime.

From this comparison of mosic wifh pofby, arite two

observations of great importance to our present purpose :
the first, that music is not so rich in resources as poetry ;
Ihc former being limited to the heart, to the ear, and in
Borne degree to the imaginatiou ; whereas the latter ex«
tends also to the mind and the reason. On the other
hand, mi«ic is more exprenire than poetry, because it
iaiitates inarticulate signs, which are tbe language of
natnre, and, consequently, the most energetic, and
ll l t a tes them by means of sounds, which,.as th y act upon
111 fa a physical manner, are better adapti'il iu prwiuce
their effect than verse, which, di {)euding u|x>n words that
are merely convinitional signs, and spf-aking solely to the
internal fiirultir:; of nmn, luii nr.jil, itj ordiT to bo re-
lished, of a more eM|ui.siic' anil delicate feeling, llencc
it is, that a simple iiitlrxly ivill move much more
generally, than the most finished poetical composition.
The sea?nJ is, that such poetry aa h composed with a
Tiew to Im! joined to music, ought to aaaone the qualities
which are required by the latter, and reject all others ;
circumstances which become the more neeeMarj'aod in-
dinensable, in proportioa ai a language H kfs mmktl.
. The ibort aiMljfsii iiam gbeot £aa. if I mistake not,
U B iwt H d the vay ibr Hie nItMlon ef the problem pro-
SBmI If poetiy roust, in a certain dcj^roo, accommodate
lladf to tne genius and temper of music , and if the
latter is cajvable of expressinu; such objects onlv iis con-
tain passions, or piclurns, ih^ n it is llie businetis of the
inusieal drama to seek tor mhU lariteriuls as abound both
in the one and the other, and to reject those that lead
to drliberaif lUscussioiis. long arguments, or prudential
maxims, which belong to the province of the didactic, of
vvhich music is not capable. Hence we have discovetcd
the first quality that essentially distinguishes the OMia
IVom tragedy. The latter may avail itself of
resources of poetry, whether in tbe form of nlwiiiiBiil
Qpon the nature of love, or devehmmenlts- of chaiactor
«nd po litical alfoira. pranded it be done in such a man-
■at aamloloao ngbt of tlie great end, which is to
»; Mi t« alftaptto IraMftr these to ibu opera,

aCarndttion.

would be either to kS

their risible faculties.

H« iic'Mhe march of the musical drama rmght to be
rapid , for if the poet busies himself about matters of
too circumstantial a nature, the mu.sic will lialt sarlly,
and not be able to produce its intended cfTect when it
reaches those interesting moments of the action, wher it
is in its proper sphere. Ileucu arise two iiioouvcni-
ences : the firil, that as the langaage of music is vague
and general, and obliged, in order to indiridualiie the ob-
ject which it wishes to express, to go far about, and mn
through a mnltipliGitjr of nolei, the aotioD «mld exlead
toaalniDAialilB leogtl^lf tli0po«tiimiid*attofal !•
pniae away etrerjr eaeieaeenee, toget tidofatwiy miaM
drevnstanee eolenlated to impiBde tiie rapid aiaraiof Ub
action. The second is. that such minutio: being deprivat
of warmth ami energy, would be accompanini only by
an insignificant and trivial luojulatioii, wluch cotdd im-
part no spirit or colouring to the words. An easy and
prompt transition from situation to situation , a rejeeiioii
of all circumstances not of immediate importance, an art-
fully-combined series of lively aud impassioned scenes ;
an economy of wurdii, which serves, il^l may so expreaa
it, as tbe text upon wltich music makes a perpetual com-
mentary ; such ought to be tbe quality of the materials with

which the dramatic poet sboiild furnish the compoMr.
nll^^Sbiinu uf 'airi'^ wnte d l eop^^ ^^^""^
should be his endeavour to ComUae penpieoity wt^pM*
cision, rapidity of sentiment with simplicity of plot.
Merope, in the tragedy of that name, makes a long and
eloquent address to Poliphonle, to prevail on him to re-
store her child. A mother ii.tr jduccd by Metastasio iti
similar circum.sta}ices, thus brietly and emphatically

Jtendimi ilfigtio mo ;
^Ai / mi XI tfttxxa il cor :
XoH sM pik madn. «4 D»t

Restore tn me tuj son ;
Ala«1 injr Iwart u breaking :
Oh Ood! no more am I a nothert
Mnoe raft of this my

Behold bert an eumpla of the wme?Miiaw
the mnaical dniaa. But mall as these venas are ia

stibsfaacOf tbmr are cauable, when accompanied by tbe
pathos and vivacity which good and appropriate music
can impart to them, <■{' iJii iIuciug a more powerful effect
upon tne minds of an audience, than all the eloquence '
and art of the same scene ia the Menipe of Tollaire.
For this just reflection 1 am indebted to M. Grimm';
see bin cxodkot mtk eatidad, Dimm* tw laPtlm*

l-'or the game reason, too complicated aa arrangement
of words woidd be ill-suited to tbe nature of the drama.
Ill order to produce its effect, music has need of certain
intervals or distanoea, which leave room for cxpres.sion ;
otherwise by running with too great velocity through the
.ttfbrent notes, the fa-wgff woidd be eoiuiMmdcu, and
the barmouy dispemed aad lestl Benee^ if the poetry
be loaded with inddeiita, . the music cannot possibly
be in accordance wftb'tt. Another characteristic of tlie
opera, thenAra^ k <ha ibspUdty aad npidiqii of tka
argument.

Tin- jnH iry, as we hive shbwii, being in a great degree \
dependant upga tbe mosic, no uaall i£aoge~iuust wccc-

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THE HARMONICON.

Mrily take place in the stjle. lu tragedy this style
ought to be purely ilramaiic, in the iiiusIchI drama it
partakes of toe lyric chuwter. In order the better to
make this distiaragii udaaliiod, wtt-auM «oand to lint

principles.

Sort^ is a natural expressioo «f the aflecticns of the
Aiod, UMpired by instinct, ai ib» tibtr «at«nial sif ns of
iUieMHians are, such as love or bativd* grief or joy, hope
cr war. Soqg, therefore, inpUes an ■■oUon of the
tad, in the same manner as tears or smilaa suppose the
■MMtbot in » MM marked and litefyaMBMr. Bwee,
Ih0 pHion who wa sings, is, in mm anniMr oat cf bis
iwdlnaiy liate, w men agitated hj mate sudden surprise
or affection are said to be out of themselves ; whence it
follows, that the languagi^ c<irres(n>nding to kong shuuUl
be diflereiit fruni thecoiiinion ; or, in other wonls. such as
would bo suitable to a man who expresses a •-itUHtioii of
mind not usual lo hitn. Now this estraiigi-inuiit or
agitation of miiiJ, or whatever else we may term it.
either has for its object such things as affect the hearl in
a lively manner, and then the style of the person wliu
sings will be impassioned ; or it hag lor its scope those
that strike the imagination, and in tins case the person
who sings will employ the langntge dftbeii

• ■ ■ ■ ■ "H(

with
may

aigbtt is nevertheless perfectly oon-
to nature, because, in supposing that such
Cgauositions are sung by the hiird, we iiaturally suppose
the Mrd thus singing them tu \hi in a kind nt rnptiire, — In
be in a situation not usual (u Liin. Song is, tlu rctiirc, t!i<'
language of illusion; iNjth the person ^••hu siugH and the
person who listens an- in illusinn, the l.'itter fieing induced
to believe the former as something greater than himself,
as something divinely inspired. Instrumental music
tends still more strongly lo disguise the illusion, which
uniting its powers with that of the vocal kind, binds the
Jnnrer in its fascinating spell, and proTenis bia from
ditoofering the pleasing error in which he is lost, the

littiiaw ane of Annida prawnied Bionldo ihim per-
LTiog that In wm aadar widwrt— nt Tlw power of
wic ii mmtAmrn mm» itrilaMEly mm than in llm

•pk of the pmpbeti and «aeKd«ftlwv, win «n tbvf

■tter«l the wonders of heaven, demanded the aidaf thw
inspired art : " Awake my harjt, awake my lute."

It will easily hr. seen what influeiu o tlic nature of son;;
and of musical stylo must hav«? swlh rufurence lo the
chnr.K tei> nf the personages of llie draum. If song be
Ihv lunguagn of sentiment and illusion, such persons only-
shouhl Yh' iiilrinlnced at speaking il, who are capable
of lively and deep onwIioBS ; uor these, except in such
situations as presuppot* eaeiteBient or emotion. AlwuTd
indeed would this most nowerful and energetic of the
of imiutiou be, applied to a ndd fhilosopliic dis-
111 would it befit a Socrates, or a stoic ' of brow
* wbo, natoudied bv aay kindliag eoMlien, shsaid
to inotada-awna halfi-dnwn of apotbsmns in an
•rieHa. IB WNdl it bett n miser, a oalenUtor, a
.flr.mif af Iboie characters, in short, who
in interest, in the cares of life, in the sordid
Kins, lif vrr flieir ^.luls tu the geninl influence of
all the wurnier and btlltr leeiings of our nature. 2Vo,
juch is the nature of song, that it is fitted to express onl\
the more loftv and enerastio mofesncnts of the soul, thie
«r*lM« and j^. tha i B| rtM aa wnhiaga U

anger and disdain, the gentler emotions of pity and
compassion.

Tnase considerations lead us to another point not less
interesting ; mean a knowledge of the dilTerent kinds
of song, as adapted lo the characters, feelings, and
situations of the different personages. For instancai
there are situations of tranquillity ami repose in whieh
they inform each other of the aotuul slate of tbinn,
in wbicb thej explain circpmstaneas, and that fill up ^
spaces that Datwally inlerrsne betmsn the nomiNBil
M one poarion an<1 aimther. Saeh nanalife parts ef
the Anuna are the prupt r plaoes Ibr tba aiinile Reeitatwe,
whose distinguishiogcnancteristiet dwaU be perspicuity,
clearness, ai>d brevity: and be it imnarkea, that tbe
lati' r i f' tli'\se qualities is particalaily neccs.sary in the
o|K-ru wIkmi rapidity is the soul of the Actinn. but, above
all, lor llii-i reason, that as song or mchKly is the very
object and end of imitative music, the hearer will be
impatient till it arrives. But there is another situation
of the mind, which is more vehement, more e.xciting,
where the first impetus of the passions displays itself,
when the soul, floctuatitig amidst contending affectigM*
is tormented by its own doubts and uncertainties, wilhant
having the power to come to any decision. This wasai^
ing state of the mhid, thb alternate transition IWmb «np
sort «f IbdiNg to another, it that which aflbrds afswr
situation tn the Seekativo Mligato, tbe style of whkii
should consequently be impassioned, yet intermpted;
which in its progress shoidd represent the uncertainty
and nnitulion of the per«)n who s|H>riks, and which should
leave to the instruuiuntul mui-ie the task of filling up, bo»
t«een the inlrrsal.i of the voice, that to which the singer
due.', not uive ullerance. The mind, wearied at length
will] I's doubts, make'i its final resohe, ami embraces
thai part which apjwars to it the best. The feelings ex-
{>and themselves more freely, and may be said to have
reached their last period. Such is the proper situation jGor
the Air, which, regarded in this philosophic point of viam*
is no otiter than the conclusion, the eptLDgoe, the denow
meut of the passion, and the most perfect completion of the
mehidf . An esaa^ will best enlain my idea. Elena,
the inter of tbe mfixtniate Dido, comes to announce
that, unmindful of bar cntiaatiea, tiie fiiithlen JBaata baa,
during the silence of night, put to sea and .IM fi«m Onw
thage. This scene is composed of simple recitative. Dido,
stnirk by the sudden intelligence, fluctuates in a tumult
iif enntending feelings ; >\xa knows not which course to
pursue, whether to lauiicli her vessels and follow the
traitor, to accept the proposals of his rival larbas, or to
terminate her sorrows in death, buch a .situation, wliieb
is usually expressed in a soliloquy, is iln' );ro|ier plaL^_- fur
tbe Recitaltvo MUfOto. At lengtli she decides ; the dec
termination to 4ie tciamfibs over every ether .pM(|asl{
such is the proper situation for the air.

With lespect to the Duetto, TerseUo, kc, n critic of
eatinaaca^aiahes the ibUewing ohservation :— " That tvm.
sbwldi

linNk aonSNnding each oil

WMi»1*MMnt any regard
in auswais'ihii m surely not lets deiagrtm y to tia g wd
mauucrs of the parties who speak, than wetHssniato ton

panen<x' ami indulgence of tluise who listen." Jt is ia^
possible to deny that iliL-rx- i= some justice in these re^
marks ; but it should be observed, that ihc blame of such
mrfasion nad contradicUon is iu general more to be imp

■ tbe 1

I a

I all speak at one and the
ihoTt and all ransaiiag the

II to vhnt lha othar ntaran

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•52

THE HARMONICON.

In other respects, the finished daet has erer been regardwl
as the master-piece of imilatiTe music, and as productive
of the greatest effect upon the theatre. Nor mast we for-

get, that the rehement agitation of mind whieh is
poacd in the parties •ingtng, ii lofficient to render, if n

not

I, at least pooibie^ tt lilidtaiHaan confusion in the

moments of partioilailjr
tep iaterMt or eidloiiniit, which possihility It a mm-
dnit plcft in jnstification of the nuuidAn fw eanilagring
, m powerful a means of diaplavine the riches of nis art,

•aa ddightini^ His hearers. To banish concerted pieces
from the ojipra, would bo to close up a copious source of
deliglil ; hence enlightened criticism is, in a maDncr,
compelled to acknowlwign llicin as legitimate jwrts of the
drama. Iml(-i<l, it stiouki be remembered that, in the fine
arts, abstract reasoning must ever give place to taste, as
the latter must also, in its turn, yidd the vantage-ground
to enthusiasm, and that native force of genius, whicb can
'match a gnce beyond the reach of art.' The doty
therefore of criticism is to endc^ioiir to perfect composi-
tions of this kind, by reducing duMl to j^reater simplicity,
and briiiBinc them w ftr w praelKoUe wilbm tbe

•dflctlbr ik tet. «r «llwr concerted pieook w* wMt
lively potnt or eruii of the passions ; be will wben

practicable, give it a dramatic form, by introducinp: as
much dia]op;ue in tbe iiarUi as posAible, and will combine,
so far as his subject will adaht unitj of dangn wilh

diversity of seuliraent.

Such is a geuernl onlline of tbe nile^ wliich just \'u-\\s
of the subject would leach tis to observe, with reference
to the various parts of whieh an opcTA is composed. If
so few authors have attended to these distinctions — if we
continually meet with recitatives, airs, duets, &c., formetl
upon principles diametrically oppiiile — what does this
prove, but tnat few authors hm mderstood the philoso-
ahj of Ibe art, and that we are condemned to witness
MU and tedioos dramas, h<>cau$e they arc not constructed
MewdiBg to the rales pimribtd bjr fiM)d aeoM mmI aon^

THE THE.\TRE ITALIEN ;
Oa, Itauah OpaaA-HovsB in PAais.

Had not the talent nnJ taste of >fessrs Leoointe and
HittorlT, arcliitects of tbe fetes and ceremonies of the
c-miri. 1j( en rendered incontestable by the series of works
executed by them at St Denis and at'Rheims, they might,
peH i M Hi Inm been mproachcd with the barbarous taste
oonspicnous in the exterior decorations of the SaUe
Favart. But these artists have given so many md twh
«iideniable proofs of their jndg^ttrt in otiier nnects,
tlMt it l« iBDossible to attrilMto t» them dw nEappy
«MW«pliaii or this facade, which, to say tbe least «fil, to
■Mie than singular. Or, if diey had any hand in tbe
work, it is but charitaUa to presume that they were
obliged, against tbeif better judgment, to give way to
circumstances and arrangetnents over which they had no
control. But be this as it may, we cannot disguise the
nniversal reprobation expressed at tbe view of this lyric
pent-hooce, substitute d in place of « peiistvle, which
^^^^ ^^^^^^^^^^^^^ JB^(P^ C^^K^^^^ ^^fcJl^B QS^I^PH^IHI^p I

prop*irtions were perfectly
parts of the structure.

in harmony with the other

Bat if any thing can be a sufRcient proof that Messrs.
Loeoiate and HittorlT were not the real offenders in the
point in question, it is a view of the interior of tbe
theatre. Nolhine can be at once more rich and more
simply elettnL Ita jRwa is ciicnlart«nditeoiitaiiii tte
tiers of bMM. Tbe frit li onunmitad with ba»i«lie&
idewntadirUh considerable taste ; tlwaal^
we diodd nwke, is, that tbe degree of iSm^
plicity predominant in this part is rather to be regretted,
as contrasting too forcibly with the richness displayed
in the second and third ranges. TIic decorations of the
second tier consi.st of a series of figures of Cupids, painted
ujjoti a grey j;round. and sjxirtinj; nmiilst sj.Trlands of
flowers. Kach of these figures is separated by gilt
tripods, havinp two gritbns lor their base. The third tier
is ornamented with birds, and lyres of Tarious forms,
separated at intervals by ciuidclabra. The boxes on
the fourth tier, which are enclosed, are separated hj
pilasters, and suiiwmted bv a IHese In very good styh.
The celling represents twebe aadeilt Onen mnsiciant,
with ApoUo presiding in tht ecntn. These tgwres, all of
whIeh are oi Urge dimeaaions, and separated by thyrsi,
were executed by M. Gosse : they do great honour to
the artist, who excels in this kind of painting.

The hack of the boxes is a soft green, highly pleasing
to the eye ; the lower ]>art of each tier is enriched n ilfi
gilt caissons ni yr.jfilp; a light friere and smalt bracket-
work coiniilele the whole of the decoration. The inferior
is lighted by n verv handsome lustre, the olasses of
which are of a round ti.rm . are crontid, and resemble
so many drops of large pearls, emiting a soft but vivid
light.

The dilettanti, who usually toke their place In tbe pit,
have to thank the administralioa for basing pvoviwd
seats with backs for their aoeommodatioo ; so ttaC
between the orchestra and the parterre, there existo Ul
«na line «f deMiealion, wUhoat any diftcenee whatever
In tbe fbm'of the aeato.

The lobby Is magnificent ; it is a real boudoir. The
ceiling is ornamented with rosettes; enchased in gilt
monlaing. Below the frieze are figures of Cupids, and
rang^ of lyrical devices. Tlie doors and mirrors which
Ml each alternate depirlmeiit, are separated by columns;
and at intervals are circular apertures of rich lattice-work,
which lix)k on to the first tier of boxes. Over the fire-
place is a magnificent plate of glass, through which is
seen the gallery looking on the square in ftmit.

A variety of passages and means of egress, wbtcfa did
not exist in the old house, have bSM Cinned ; to that in
case of fire the whole audience weiiU base tine to make
their way out with ease, and wilbant the least risk. The
gn ^jnay jnthepitbasen^g^

All these dilhieot tirofka wen eieentod according to
the plans ef Ksem. Leeolnte and Hittarif, who also com-
posed the designs according to wltieh MsMI. Cicerlaad

Gosse decoratMl the interior.

We repeat it, that the interior is beautiful ; and that, in
spite of the just critiques for which the [x rist vie certainly
affords just cause, we cannot do otherw ise tbati allow
that, in so limited n space of time, it was scarcely pos-

V '9t to deo^

sible to Construct a more coti\enient
rate it with more art and elegance.

T. F. SL

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THE HAIIMONICON.

■HOUIH WOBDS OP flAYDlTS CMBJTKUr.

Tt lie BUbr qfAe HaMONICOV.

Sir, — A correspnnilt-nl, who adtlirssos you in No.
XXXV, uiulcr the siinplf sii|;naturc of " A Hearer" (of
the York iiiu^io.) has, in the midst of various judicious
and pertinent observations, di.splajed in one of his
paragraphs, a whimsical prejudice ; which — as the object
of it has no more to do with that occasion than with any
Atfaer concert of sacred music, thuu{;h it is not irrelevant
daring tba Oratorio Seaaon — 1 hope voa will allow me,
«fwi now, to oonbat it, tfanR^b the fMMMil ttjtmimj

te confetaes were greatly ontwaigited b; the geneni
•leeilence of the |>(>rformance— he very properly notices

tin confusion whiih uro^c from liaviiij; negligently
mflbred three difTerent >ersiong of the Murds of 77if
Cn\i!/i'ii (o make their way into the orchestra. He is
not however cnnteiit with assertinu, tluit only one Iran.s-
lation should have bettn uduiitted to be used in adaptation
to the music, but says " it is mitch to be regretted that
the original translation was not adhered to." Why ? —
Mae, althoagb " in some reapects it is faulty, the ear
I got neoMilM to now and then an awkwam expn^s-
U and the new edition is very far from being alMay.H
nn improvement." If the first argument were all that
OOald be advanced in (mm of the original tranilation,
■id If it dwU appear to be bardlv possibk that the ear
ihonU get neoneued to some of tne expnnioM, for ex-
;nBple, ** See flashing through the. wet." See., and that
the new edition contains none such, the logic employed
iy your correspondent is strictly on a par with that of the
rustic, who coulinuLil t.i drive his donkey to market with
one pannier laden with wares, and tlie other with stones
to balance them, rather than get an equilibrium by equal
divisions of the wares themselves, as recommended to him ;
«nd then assigned if Ul MMOn, that Hi fkUner had done
m oSmtt him !

The objection to the new translation, printed for the
" that it it very far from being always an im-
t," b best answered by quoting " A Hearer's"
ipeefaBM. •«Why." be aab, "is
to to Tib • tinging werd ooeem-
oCEtlerfl" AH who consider lha capabilities of the voice
noir,' that (h* important point* to study are, the acc<?n>
taaled syllaUm: thefaraser word, in this instance, has
the accent on the vowel e, which is avowedly the thinnest
and least favourable to the voice, of all the vowfl soiuids;
the latter, and, to " .4 Hearer" the ohjet Uonable one, has
the accent on o, and with it.s fullest intonation. The
gyUable pUsht-d is certainly barl, hut being unaccented it
is given to a short and comparatively insignificant note,
and is therefore of little or no consequence. I now pro-
ceed to place a few passages of the original and the
•nprovrd translation (as those certainly oonrider it wbo
adopted it for the use of the York meeting) in jeata^
fOMtion, inoidertoafgfdlotba lenier an opniUBiity
af jrigif wha*w "AM— ^ mshiAMMMl, inU

f«Baib.e« tha two aditiou, hjr a talioBal view of the
" «faaeh,er hjpi^indkfe.

Orioijial.

lA Ad.

Nsw

The ^loutny, diuniO ibadesof The glooray shades of anrlcnt

dark. night.

Affrighted Bed UcU's spiiiia Tbeiareraal hostcooftNinded

htacicla dunofi. * **

dmdfbl

A* chat ut iapelled the

cloud*.

Now fnwi the floods in
steams aiiNad mivingihowen
of fiua,— Utt.diHrf* wmtelul

hail. ...

nosed.

Swift Ay the ekads entiM

raging winds.

Now, on the parched earth
dfacend leviviag ahawan of

rain, — f

The

aaaicdtlM gimiiae Mtmrnhf
of heaven.

Here vent their fiaam the
fragrant lirrbi.

Tlx: Heavens aratdllag the
glory of God.

The woDdma ef Ui wmk

UMMchgr ^

displm a* <bmimcnt~4o day
that IS camfaur speaks it the
dav-^niglf thatb
fuUoiriog night.

The i^Mfama
BaawB Muid,

marvions woric.

Ilrrr fr.iirr.^nt
odours breathe.

The Heavens
fiory of Oed.

The tlnnamnt diMlajrs the
wondsvs of Ms woik— Day u nto
day doth otter speech— nifht
" doth knowledge

the

each living soul
th«LpLafd.thay
It Thoaepoiast

ThU wivEi-iitni' hi !s to mora
the iiitrry lark — .itj'l loding^
calU the tender dove nmte.

See fla>ihine^ tlimuph the wet
in thronecd tvvirois the fry on
thousand ways around.

AeHmd Is Oe glarfoai

work— The Lord beholds It
and is pleased. Our song let
be the praise of Ood.

On thee each living soul

nnstits ;
ber then

tby huri, sad mMd all Oay
are.

Ye flowers breathe at him
your balmy scent.

Ta liriflg souls extol the
Lofd.

The dew^drapping mom, O
howsbequickensall. Tbccool-
Dc*s of ereninr, O bow she
all restores. How pleasinr is
of fingrant bioom the smell.

With thee is IMs ineeiiaat

b!i5.< — Thinf it whole shall be.

Ui« praise shall last for ajre.

The sprightly lark bids wel-
come to the morn — the turtle
<!i>oin^, calls bis tender mate.

The Ocean's uii<;hty cavet
tlif finny r:«rc explore, daitiag
their liquid course.

Aeeoinplisbcd is the glorioa*
work— The Lord beholds it
and approves. Jehamih*a psalN
stall lie our theme.

On thee all living souls de>
{end t finm thm^ O Lasd, they
waitoMirliiMd. Thonopnsest
tUae kwi aadOlMt adni^
good.

AO.

Ye od'rouB plants, ye flower*

breathe to him yotur balmy
scent.

Join voices all ye living souls.

The dew-spaogled mora, O
how enlivening! The breescs
of t\tn, O how levit^ingt
Hluit rich peifosuthe Uafladnf
hours exhale.

Tby voice perpetoal love

injjiires — Thou art all to me.

Jeltuvah's praise for ever

I am, Itc,

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THE HARUONICaN.

£(X;£24T&lCiTl£S OF COMFOSBAS.

A GEnMA.v writer iurorin^ iln^ imliiic, tlmi in order to
promote the iutcrests of the art, lie has been engaged,
for scTeral years, in collectiua; a variotv of itiformalion
trelative to the pcculiarilic*, the syini>aluics and autipa-
thies of celebrated composers, to serve as materials for a
Ptj/dutbgito-liiikmeal Atan/ fke Art of Cmposiiion.
At m wpedtaea of bis Idwon, he gives tbefdllowing.

IIaydn ivas Olio of the most quiet of riinij)05;ers ; he
recjuireil no slroiij; stimulus, no euliveniiij; punch or
liparkliiig cbainpa^nc to givo an impulse to his genius ;
but he had a familiar spirit of his own of nnolhor kind, n

Entler sort of Samkl, and this was a diamoiul rinp which
d been presented to him b^' Frederick the Great. Did
it Miiwtimes happen that at his studies the ideas would
flaw with case, the fault was at once laid on the rinp;

In order for the fancy of (tll ck tu nuio r nl^indlcd,
nothing would do but he miut be olT to some '^reou mea-
dow, if is Dorothy muit perforce have her piano lu^);ed
thither, and a bottle uf sparkling cbampagne be placc<l
•t his side ; and thus warmed bjr the double glow of the
son and his faroarite wine, be povred forth sone of the
most brilliant of his inspirations. How wofnllj then
have some of the writers of his life been mistaken!
loraiied bj Iphigenb, fonoeth 1 aonMiue» it vis bj the
perntmes of « iVesb>tnade hejroodc.

Sarti went quite an opposite way (o work. IIo shut
himsflf up in a large dnrK room, faintly light^il hy a
slii|^le ajHTtnrf"; ami it) lliis atioilc, us iiu luiic hoiy as the
grave, and not less silenl, immured the live-long day,
and fie^oentlv the night too, would he compose those
kmAf tattt Which breetbe «U the freshness of the Bwst

The method to N.liiih ZixcAnEi-Li resorted to catch
inspiration, seems .scarcely Icssi propitious ; before sitting
down to compose an opera, he wouul n^ud sntac (lortiiiii
of the lives of the lathers of the desert, — perhaps the
Jlialory of St. Antfaoojr'a temptation in the wildcnMH,

•SaubRI disdained the ooofnement of rooms and
books, and sought his genius amidst tlie busy hum of
nen. He mum n»m »jf and dowB the atteetei with his
pockets full of confeetlonarjr, and as the sfrfrit happened

to move, would tiotc ilnvin his thoughts in bis pocket-book,

Paer wrote his Sinjtno, A>:hill,-i, itc., while trifling
in the midst of his friends, (juarreliing with his servants,
[daying with his farourite dog, or wrangling with his
wlfemclilUnsi; and

i^AKSiKUo composed his Wna, Ui Jfoffnara, and

bis Barbiere it Sviglia— in bod.

"What njore easy, — what more simple, — than to select
one, or e> eu try all of these methods, to see if, perchance,
one coul<l not hit off MBelfaiag in the MMifT ef Dq^n,
Cilnd^ or f Ucr.

' " 1 can call •pints from ttii* rnatr deep.
• • • • . ,
B«t.will Ihtj c«BM,wlicn tbuu do«t call to tjwm;"

MISCELLANEOUS.

1?V a private letter from ^Vellllar, dalL-d the 2rth of
January last, we learn, that the celebrated J. N. HumiBelt
Maestro di Capella to the Grand Duke, is engaged to write
an Opera for the Orand Optra of Pa«is, and is at fn^
•eat eiehiilTelj emplosied in fidliUag that <

Another great work of the same composer will soon
appear in print in England, I'Vance and Germany, at the
same time : " A Theoretical aud Practical Piatuh-ftrtf
&*mI;~ or a fidl tiMndoethM to that f

We learn from tht? Dresden J'iiratru-al (/u-ci/r. that
ttii" new CantatA, called " Ln Lite SopiUi," by Morlacchi,
(jhapi-l-Master to the King of Saxony, was performed
to the well-known text of Metastasio's '• ('ompnnimeiUa
Dramatico," on which oocasion, do less than twee 1 '
•and tidiflla of fine adaiariasi wot* '

On the I3lh of November last year, Spontini's Opera
" Otyihpi.:" v,as jiorformcd for the first time at Dresden,
under the immediate direction of Carl Maria von Weber,
so that there w ill be no further obstacle, as there had
formerlv been, to Weber's bringing out hig own Opna*
at Seilifaa

3L\c\)itto of JHussic*

TnK VioLiHf, meUiod of Imstruction for, by RoDB,
Baiuot and Kbeutzer ; edited by Baillot^ awl
a da f t id ly the Qamswaftify of Pari*. TnmtUOtd Jpt»
tkw oriahmt EdtHm, ISM. (Boosejr & Oh, HoUm

S/reet.)

Tjtu work was first puSlishcd before onra
theicfbro we eonld not, wlthont dcpartiw from the
nUtfamweeBtaUished at aettiag aott btre noticed it,
out that die preeent ie a new editioa. And even in this
oase m ibowd have adbeied to oar resolution, hwl not
the great merit of the volume, and its imporUnce to the
musical mitM, teinpdj:! us lo transgress our rale.

iTi'iith uiubK iaiis reason their art ; they are, gene-
rally sjii'aking, luuch iii .re < iili|^liteiied, much more
iiitelli dual than our.s : they helii-ve — hjrI act up to their
L<.'lief^ — that to enlarge the mind of a student, is to extend
his means of improvement in professional knowledgek
Ueuce their books of instruction shew on aclivi^ of
thought, and a spirit bordering on the pUlosophioal, llMt
cause us in these islands lo stare with surprise;
unibrtHaateiy, withoot caeitiag that emulatioa mMA It
■0 1— dablf> and leads ao oaamudy towaris the foint «r

This is in our opinion the best inoAk^ or kosk

instructions, for the Violin that we have -jet taeai teH
is un exempliticaiiuii ol what wc have renarhed above,

eoiiterniiig French didactic works ou the art; and though
the authors, in slightly touching on metapbjrsiealnuitlei^

Digitized by Google

•I*HE HARMONICON.

l «i5li*, yet an tlurttbejbav« said in their intro-
■Mid put wiH iiire motion to the youthrni
■, i» ji. . jam H'Cixpmtion of thaafihtaiidpraetiee.
The M tM M dm-tmit ytaj brieily of the origin of the

Violin, its nature, propecties, aiid progress; of taste,
genius, aud the first tfttdlltes'of an artist. The true
firtijil, it is well observea,

"CoattiKi wtirinor(1ifi>rent kinds and of dHTerrnt countries,
and by them hi« minJ liccumes enli^htenc<l, »n<l he feeU ri>n-
Tincpdthat taitrmiist alirnv^ ;irnimp,iny ttiiit (lerforiiiaiu*' which
h»s the piiwiT lit iilf'siiiij («T ,irn lciiL,'th ul" tj:iif. Thirsting
after kiH>»if ilg-f, he ha* n ciiirsi' i vpii to forri^ii Btiirfs, U'ifh a
riew to Clinch his un n . •iinir\ nitli H'h.it hi» exi'rtiniu msy
enable him to collect. Still prompted b)' llic snuie lunging .-ifter
fa»trtirti(»o, hr receives tbc stranger with that huipitaMc
arbanitj which the an* inspire. Tuu liberal and too prond tu
•M wkM of JtrfwMj. iw lathw Mb lyoa the Mqdiidon of
■■ ■iir M i M aia la ii Mw i l aitda i^i n th e t a iri ltiy of the
mi tulnr rttoiiiim hy n» odwr awdve Maa ttrtaf amahUon,
Hiviwb bacana Mi Hndi."

Hk first |)art consistt of instructions purely _
fllustrated by examples. The whole nf these are giren
in a very clear, concise manner, and will prore of tbc

Ctest utility, not only to the beginner, but to those who,
gb they may have made some progress on tha vioUn,
^omneneeathestadyof the instnimeatwithoal paying dno
atteothm to elementary principles, or iritbont the atsist-
aaoe of an teacher.

The second part contains ** a few obscnralinns by way
of idfioe," an expre'^^ion, Hhich iiirliules Tnrii^, Alnve-
medt. Style, Tasli', rirmiicis, um! (miius of Execiitiun.
Tho fdllowiiiji; KPTisiblo remarks nu !i)-n-ni\i iil, ninv bo
rendered applicable to musical |)orfurmaiKe in general: —

the greatnt exaetncas
sffinpriale chaiaatar.
hacp to the chsr setae ef fta OiAiFio, fbr instaace,

quidc or nidden start ahould be avoided, and the oma-

we shall be refldering a service to all onr readers by ts^
tiMilBf a eenMeraUS poclidn of Ihh I

• ** IW oa pr aisiaa, thwefiMe, require* tl
^jUmHlagto gin cash aMNOMnk lis a,
mfitn-vleir to hwp to the dnmter of the

- Bents' thuuld be more fluwin^ and more smoiuh, the appuff-
fiaturaii plajred ilowcr, the triui be supple and awellcd, ana the
how more sustained than in the aHegm.

" The alleifro ihuuld be played in a more animated manner,
and the bow thouid be more firm on the strii.^'s, 'Chr or-
naiiients :ind appo^rsnaturas shuiiM <^till he executed in a grand
and bciM >.iv:e, luit with more fre<pj<-ttt strokes of thabov, and
tlic trKLs or ih.ila'n HhiniM huve more rapi'lity.

*' Ligtitrte»i, vi\ ;«;itv, .ind fire, should hi- the i hirai teri«iii s
of the ttUrgro ; even in the uiost fl«wiii|^ p,i>i<4j^ci thev (huuld
.irtinyi be anfanated."

Many a profound thinker has been puzzled in endea-
vouring; tn define taste: uevertheless, Mcsaieun the
Authors oHhe present volnme h^ not aimnk ' (trnm- (he

.attenpt, in which thej have been aidbd by Vbltitire ;
fc n rf j t w e eaiye etM e , ttay-h w m l Jwe ai w li aMjU til

!ty. their translator.

'■ Natural IVitte it nothinfr elie than a due tenie ef pfOpriety,
!tt> itiifH'rrcptible tad. vrhirli l^iv^es tovntT thlBf JtS'fnjppr tSOe,

rhariutn , ..lui p.,..r, . It ■"'■ '["■♦-? nrBtfflMi. Sail imfansrl'

ouh^y m.iki'-, a jmlicious choice.

" Mien- is iuiothcr kiini of t.istf, which is the result of com-
pari>oai majde hj judf meat and experience ; this may be
called immrotnt tgd$. Ujraauailr afftef aature, mt tha
fnut of educatioa."

i»i»«nMaiida>aMM, Umt

It mun W ircollected, however, that
tranttatitm, and thai il^e waat of WBSBlesflt
•ha CofM i«niM. — .

«o ara mviawiif «
mmj ha iaspandUe to

"Keepioff time U no doubt a noat essential, and. In Act, an
indifpensabw- requisite ; but this is only the (nacfaanieal pait of

j-ftia-ahoneeeasary that the matask piaahMl SWlU ba
tAaerndin pruperly accenting each har, a)Bd 'focheeklnif onA

pitty,' 10 as to hare (he movement all tlie way throufh perfect
equal.

" Expression allowi an insensible deTiation fnxB the tioM at
ftr»t adopted, bnt the former time must soon be deHeatdy re-
sumed without shewinjf the least tratititiun.

" If, lioH-evcr, this liberty be suiTcrcd tudc^cncriitc into abuse,
music immedialply loses that charm which it deriven fnmi the
rc^'ul.irii V of the luoveiiicnl, ;iiid ti e imc. ac< istotMcd to a profyr
cadence, nrid to that division id tune Mli-r'<i rh:iractcri?e» each
movement, lecls ;'-s it irrrr disappointc 1. ^r:i:^ilrr^ arid hccorncs
wear\ with listening- to a diier»ity of Bound.s which have no
ContH'xiiin, «ud arc iiothini; but mere noise and confusion.

" l,{uickeDin)^ the time in dilHciilt pana^s is an erroneous
manner of girinc expression to an adajcio or any other more-
meat, for it sbosud only proceed frum a forcible, eacrgctic, and

hold war ef playfair this pasaafo.
' 'SleaAmwrainl lirmness, ae

ieacuiu|siulad with coviectness,
perhaps be reckoned as qualities, bat are leMam met with
among nerformers. In fact, by putting a chronometer belim
the student, it will easily be seea bow diAcult it is to iibsam
tfanatrflhaieaty."

.Ml Ihiit havoabcjNC iiDticccl occupies al>out (wuiity
pages, ol letier-presa. It appears lu us to be, on tlie
wliolf, toloralily well rendered into Englibh ; thouglt there
an- ^>omo \«.'ry obvious faults in the translatiou, and errors
lliat |x-rhups may appear in the original ; though we
much suspect the contrary. The latter, and grt-aier, part
of Ilin waakt consists of Exercises on all the sedi s, with
an accompaniment for a second violin bj^c celebrated
Chcrubini ; vbo, iu dc\utiiig his atletitiim to the subject,
has laid til amntenrs of the vfoUa nndir a iBiKe deU of
gmtiiiiie to Un. These emd s u indnde lie wieiK
shifts, as wdl at daaUe Mens; and end, as all hooiki ef
elementary Instroetlon should do, after having furnished
the learner amply with niles, and then leaving; him to
apply them in the study of ancfa examples as his own
tasia, or his uaaler's jodgnsaC, sliatl edcet.

MoZ-tRT'S Cri.FTinAlEn Co.NCEKTOS, fieuAy ar-
ntuiit-d j'irr Itie I'l \N«>-FtiRTE, icith aJditiortai ky>,
and Arcampnnimeiilt nf Xloi.lStYuVTB nnrfVlOLON-

CEixo, l^J.B. CaANBJi. No. 8. (Cramer and Ca,
SOI, iSeyenlSheeCi)

A few iiiiirllis back we norict'fl the first of this s. ries cif
Mo/art's CuUi!«rt(Mi, itublisbiiiG; bv Mr. Cramer, uiid then
c'Xpri ^ ( il ourselves in fiivc/iir of lhi: use ot' the rnofliTii
additional keys. We have not discovered any reason for
changing uur opinion on this subject, though \te have
been censared for approving of (he mode adopted by
the ptesent arranger. We rei>eat, that, as the extra
notes arc iise<l cautiously, ana where Mosart himself
would in all Drobabilily have employed thens, Mr. Cranwr
baa shewn oia jndgaieiit ao iaCndnoiBg tbeni in, this

This COBcerto is in B flat, and is greatly enhanced in
value to the musical world, by^ having accnmnaniraonts,
from the antbor's score, added to it. It rnrei> liajijicas
that a party of amateurs assemble without a Mdhcient
number of perfonners being present who are equal tu tlif
|iarts here amnj;ed; and toe improTement which th(»e

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THE HARMONICON.

afford is almost incalculable : in fact, a concerto without
some! aci nnpiinimrnt wnultl now have very littic chutce
of finding anjr p&tient litltiucrs. It begins thus : —

•o
o

jnez.

The whole it a very spirited commritioi), wilhadMiai*

ing andanle morement, ind a brilliant finale. But it is
not part of our plan to enter minuteljr into the m«>rits of
nrrangen:ients ; we therefore have only to mlil, that this
coDcerto is within the compMS of most good players i it

has none of the extravagant dilEcullies that are too
often fonnd in verv' modem works, but it possesses manj
mora beauties tbu are genetally diaooveraUe in tbow

Rondo Rriixtant for the Piaxo-Forte, composed
bu i. B. Cbambk. Op. 78. (Cramer, Addiaoa
Bads, 901, Jifgnif MteA)

Mr. Cr Aim don not now very oflen give free play to
his imagination ; be rather writes for the fleeting moment,
for a widn circulation, than with a view to the future, or
for X\w clidscn few, his contcmiiorarics. In truth he has
already doni! service to tDc pubLc, and if he were
never to publish again for fame, bnt for the million, none
wiiiiM have any right to reproach him with a want aC
disinterestedness. But ever^ now and then he bringing
something that manifests him to the world in hit Mtl
professional cbaiacter, and the present Rondo ig&flHB
in point : it b • Stady, and only intended for thaw iHw
wiu faertow w nneb time in pnctising, as the eompowK
did in prodndttg it Wilboot looking at the name, Ik*
mlior is annonneed; his elegance is conspicuoos ia
everr page, and his manner of expanding the tbeme ia

not less visible. The Intrndudone does not, «e must
confess, .strike us very forcibly ; bnt the opening uf the

' siicceedingaMvenant, wliiaiiira«Biiaii«itfnttor I

I and taste.

At-LEGRO

COM Baio.

■

^ e 1

There are some ingenions modnlations in this Rondo,
together with passages that snrprise bj their originality ;
•nd though the character of the whole is that of bnl-
liaiicy, yet this quality is not purchased at the expense
«r exprenion, the grant cham of onuie^ and the gnod
ehancteiistie of Cn»Br.

.Havdel's Celebrated Otertures, newly ar-
nmgtd /or the FlAHO-FoKlx, and dedkaita ttilk
to Emm Mont Obacxoos Huxm, hg-

J. B. CRAHEn. Noa. 1 and %.] (Cnmer and Cb.,

It is not at this moment the fashion to like Handel's
mnsic ; but bis comjKisitions have a prodigious number of
adniirers among the great, witness the rank of the SOO
people who assemble every week during the season at the
Ancient Concerts, and arc not cloved by the annual
repetition of nearly the same things. — Why should tbey
be?— « fine picture will certainly bear viewing once •
and snv^y n fine nmsioU cw n p aai l laii will bent

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THE HARMONIOON.

of the ^reat masters to their pupils, they would mndcr
an important service to the art, and lay the ruuiidatiou
of good taste in the minds of those whom (hey instnict.
But we fear, that there are many masters, or .tm-ilisant
Mfltera, who are thgnwlves unacquainted wiih tlie com-
BOl k hi— propcriy eillBii classical, therefore, cannot
M tamttfti to iceoMMnd than. We reioiee to see
that mm^ {wUieMkat of lUi Mrt a* MUng Ikeir
mut ntu M, ud Mr. GNiMf'i nana MMnt Ibei* «U1
de Ow ewn moA wrfiee ; widfe he HmOt will nep
BO Huell credit from the aiding of so desirable an object.
He has commenced with the overtures to the operas of
Beretu're aM\ Rinaldo ; both very g'uxi, uniimihti'dly , hut
not so likely to be populnr as many ol llie iilli«-rs, — the
slow movement to the last excepte<l — and th' n t ri' not
ao well calculated to brin^ the work into imnuKljatr hikI
g ene r al notice. That he has arranged them well fur (lie
nutrument, it is bardlj necessary to state, for he knows
the character of the music thonwgUjr, and fa qpite aware
of the poUej of raodering them aa eaqr to the perfintmcr
•i ie eooBpeliUe vhh good elket.

Bkethoyen's Grand Symphonies, arranged far

the PlAJiO-FoRTK, roUh AcroMPAJflMK.VTS 0/

I'lutk, Violin and Violonckllo, by J. N. HuM-
MEI-, Maiire de Cluipclle to the Duke 0/ Serf H'eimar.
No. 2. (Chappell and Co., 50, New Bond Street.)

Tun first number of this work, containing the symphony
in C, was mentioned in our IilsI idIlihu' — A secinui now
appears, which i« No. 1 in the quarto edition in score *,
fttltabed hj CSneheltfaii wd Speimti, oonneaetaig tbns

crtf.

This and the symphony In c minor, divide the opinbn
of the connoisseurs: both art- equally grand in desi^,
but brilliancy is the charar'lcrisiic (jI the one, sublimity
of the other; ami we always (intl that judges entirely
agree as to the positive mcrila of the two works, and
onlj differ as to their relative qualities. Wbo can listen
•nmoTed to the Larghetio in A of the present symphony.

« Id oar SSad Neabatwo
ih* ijnnpboejie •!> Mok l«f lha

I ttJsi

llBthM

T«b IT.

or hear without a quickened pulse the animation tchenot
— Hut we must not bt- seduceti into a review of a KOrk-
that is not contemporary with our own publication: we
have only to speak of the manner In which M. Hummel
has executed bis task ; and this is deserrin^ of erery
praise. We tbousht the first of his series overkadel
with notes; a fatut that cannot be imputed to Ihe pn-
sent, which is the

I the Meet maelerlT adaptatioa ef • MM*
that baa «fer laUen Wider ovnotiee. The spMtofthe

original fa fnely peearved, ami by aM«m of &e n

paniroents the essential points are retained ; except, of
coarse, those which depend on a mass of sonnif — on

tinims, trombones, ,V.e, ^^'e have also great plcasurn in
siLitlnp, that the very correct way in which this number

ns it as the former oae, fa pinfed* eotille> tiw editor
to great commendation.

1. The Minstrel's Harp, compated by Th. Clarke, ar-
ranijed as a Divertimknto fur Ihr PiANO-PoaTK,
tpith FlutK Aecomoaniment, (ad. lib.) by T. A. RaW*
UMca. (Clementt and Co., Cheapside)
«. "The led, red Rose,** «enM variations for the PiAiro<
Forte, by Benjamin Bi.YTtr. Mm. Bae. Ctasib
(Chappell and Co., 50, \cw Bjud Street.)
a. The Warbler, a series of Litelv Rondos for the
PiAW o-FomTB. e em f m td t» JoHM Pauv. Nos. I
to«. (GmaidSon, l«t,JB(9SM(iSfrwt)
The 6rst of theM fa hi tbc smooth, a^eahle style that
Mr. RawKngS dnds so generally |)leasiii!r in his tliverti-
mentos, and whirh we cnii piisilv inifi^'iiie pissr-ssos a
charm for a lari^eeluss of performers ; tor le- Mnlcs iht^se
compositions with great taste, and mannoes to ^iw? a
brilliancy to many passages that arc very easy to execute,
though apparently otherwise. Tlius it is in the present
instance ; nere is no pretence (o originality, and we could
not quote a bar for any tUag remarkable : yet the whole
may be played before very good anwteeni and Meet
with applansa. It comprises an Intradnctfan, and dM
Air, first as an andante graaim, aad alkrwMds as aa
aiUgretttK The opening of Ihfa Bdody fa ao Hhe ** Aold
Bobio Gray," that it most be intended as an imitation.

Tbc Introdnction to No. 8, is good, and by far the best
part of thi! publication. The Scolish air itself is. as
every bmly ailmit.s, \L-rv l>emililid, butthoiijjh the present
> t'lriulioiis to it shew s' nu! inslc, they lieiray a want of
ex[>erienctf in comijOaitiDn, — nt least, so far as the piano-
forte is concerned. The luUowing harmonies m the
second and third bars of the adagio, will make tbe
learned and worthy professor of music to the University
of Oxford Uosb as red as "The red, red nse^" to think
that a son of Uf ihoiild bam anflbrad mdk emn to

The Wafiler, No. S, has extsnded to six numbers.
Bagatalkt auch as tbaaecaa hardly be Curly tried by

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TBB hariiomicon:

critical Uwa. How in sndi acaw find a Jaiy af Mint

Wo only wish that the amhar had nid '^wiilM hj,"

instead of " composed by."

1. Two Polonaises urilh Thios fur Uie PiAlfO>

FoBTK, comjxtsed hy ClIAKLKB CzKUIT* O^k M.

(We«8el and Stoclart, 1 , Saito Square,")

S. Spring Flowers, <i ivl of TvBOLGSE AlBS, anoMed
forth,- PiANo-FoaTE by fiAllDXi.Poitu. (Lud-

saj, 217, Jic/jenl-Slrcet.)

S. " Gioviiii'lto Cavalier," atid other favourile tubjecU
from 11 Crociuto in Kgitto, arranged for the FtAHO>
FoKTE by E. SoLis. Op. 9. (Lindsaj.)

Now and then M. Czcrny makes his peace with the mul-
titode, b^ publishing gomething not prodigioosly difficult,
and Jiaving an air for the ear to fasten on. The above
polcmaiaes are of this desciiption^— tbej have melody
and rhytloi and neither raqain an vntam mnber of
fiogen, nor bands of gigantic ainiMtlbna : fai riiort, they
are rational, pleasing, recommcndable things.

No. 8 is a useful publication for the youngest class of
earners: the airs are livclv. prclly, and, on the whole,
well set : the notes lie cotiveiiietitly >m(ler the hand, and
tht? passages art- ^doj extirci.sea I'ur little (iiigtTs. We
observe a few iiiacciiracies, perhaps errors of the en«
graver ; the third bar in the bass, page 3, for example.

Ur. Solis copies an air or two, almost note for note,
from the arranged score of Meyerbeer's opera, or from
fame of the uaajr adaptations in print, and when liis
MnncriBt ii, bjr the eogFaYcr, traiurarfed to a lew
fdatci of pawlar, ha adds a titte-Mg» and liat tfae
«oim|Bla flan fha whole, hi* OrxBA 1X1

1. Nonoaifo, (i la FieidJ fortkt FiANo-FoaTS bjf

S. lUlange on popular airs from AuBER's celebrated
Opera, The Mason, for the PlAMO-FoKTE, by
Camille Plhyku (CodisUulO».90tiVtiMC(S(ff«t(

Hanover Square.)

S. Introduction anrfRoNDoon Rossiini's air, "Di
piaccr mi hnl/a il cor," fur Uw PiANO'Fbm, ttf

Camtixe Pleyel. (Cocks and Co.)

4. "Zitii, ZiUi," Theme de Ko&sitii, arrange enRow-
DEAt pour le Piano-Forte, aivc aeeomfagnmant
de Fj:.ute, par le tni-me. (Cocks and Co.)

Wx hate never been very warm admirers of the nottoraos

of Field, they want air; and the almost unbroken chain
of quavers in triplets, or, — what is nearly the same
Uiiiig, — i" tttelvc-einht time, of which they are UKually
forme<i, lu cott^es extremely fatiguing to thi- ear, which
requires variety iu duration as much ns in key. If then
we have no great liking for the original, it follows that
wa are not very much captivated by the imiUtion, and
ftr the reasons that we have assigned. But we willingl;
admit that there arc some clever passages of modulation
ia tUi anttanat for M. CaariUa f Icsjel it a aelMliic

Ma. t ii frna Ae Ttnaeh s ys tm In Mofon, now i

ia imgtt la ftris. M. Aober is a clever composer, and
pwdnee a anae very original melodies, which he clothes
in ecpially good harmoMy. M. Plcycl, in his Mi hiut;e,
has given !t|)eoimens of the opnra that leail us to form a
high opiiiiiin of il !is n hIi il( , aNil has united these with
great judgment and considerable effect into a divertimento
of eleven pages, which wiO nnit HMft pvAvMI!^ aat
gratify many beareit.

" Di piaeer," has snstasned an injuy from the change
of ker, aad ia not in oOer i nnw ci n a» inriting to the ear
aa moit of M. Plewl's anaagMBto of lUiJai'a airs.

Ne. 4, " Zitti, ZMV let M amar ia what form k
maj, mast nlease ; il is me ef 1M moat origlaal ani
popular of ilaydn's airs, for he has the sole right and
title to it, thongh the fact is not even yet so generaUy
knowTi as it ni;;ht to be. In The Sfayins it will Be found,
and all take any interest in the p>sthumous fame of
so crcat a peiiiui, will assist in publishing his claim to it.
The second subject, " piano," is, for what we know to
the contrary, the property of Rossini. M. Pleyel baa
cooTcrted it into a good |Mao>ibrte piece; showy and
ea^.

The Jnfenih Band, oraqwmi far the early yradw* ef
paying in Concert, by R. Lacy and i, 6buv«
no. 1. (Green, S3, Soho Square.")

Tun is aoolleetioa of fikvonrite ain, for thepiano-ftrie;
accompanied by a third band oa Iba MUa histrument,
and also hy violins, violas, bases, and ihrfe*. The object
of the work is '* to produce a concert effect with the
smallest possible practical difficidty ; for this purpose,
the parts lor th(? different instruments are so con.structeii
as to employ those notes only which are the most easily
produced."— The two print ipnl violins forma duet; the
addition of t]io base converts this into a trio, and with the
viola, or tenor-violin, it becomes a quartett. The piano-
forte, with or without the third band, maj be ased either
as a principal or as aa aeOMBfaniMIlt to WKf «f the
abova combmationa.

I. Six easy VoiVIITABm for the OmAIT, aifcahftrf
to facUiUOt tkt fngim tf young th tdm t t m tlai
mtirusnent, by TaOMAa AoAVa. (CkBMUtt Oft,

Ckeapside.)

8. A TbrnOkr ToKninrAKT fir lie OaoAV, eotmmi
by J. C. NiaBTiNOAiBi fh. t. (Moaio aad jfi^,

11, Holbom Bars.)

8. VoLDHTART for the OaoAN, compoted by EaTHsa
(/MM tf Mem.)

Mr. Adam.s has here publishf<l some useful voluntaries
for organists nf moderate practical ability: they are
mostly in a sufficiently grave style, ami yet are not
devoid of air. He has introduced lour short fugal
movements, to prepare the student for the strict fugue,
which, before ne can become a good organist, he wiR
have to .study.
Mr. Miabtingak'a mlantanr ii in cootinaatjon of a

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THE HARMONICON.

Sua. Tbc present is easj, and calculaW for that class
ner&rmerii to whom Hr. Adam's work is dedicated.
No. 3 is cieditaUe to the talent of a lad^' -organist
and couposer : it ia short, and easy, with the eiweption

1. Gow's Sei<ctkm of PiAKO-FoBTB Moiiei am^oud
£y L. y. BsBTHoTBif. Nm. » md 9. (Ghnr uA

Son, 108, lUgnU Skeet.)

9. WBirFMT'4 14tll «it of QPiPlini.Bg, *• II

f. Variations on a Theme in " La Cenerentola" for
Ag FiAjf o-Fo&TB. hjf Dm Matxhxw Fummsa.
(Fhw ud Hofltiiii, «9, CmdUil.)

Ho. I are reprintt of "Sec the conauering hero," and
Th» mtaij heart," taceeJiiigly well browkt ovl, and

hradaa a eontiniiatloa of llw pmUkatioa Mfbire men

Honed In onrWork.

Mr. Weippert has chosm jjood snbjectf from Me^'er-
beer's opera, but he has not arranged them e^mllj well
for the piam>*forte. Sonie of the passages in the left
hand are aw kw d, MBd taM* lhaf|lf loOB alnaiBf in a
quadrille.

The onion of Don and Matthrw i'> more original than
Ae rariations which the noble Spaniard has hen chrea
to the world. But they are not nopleaaii^ft Md aM
tiilhoat aajr fiudt that we have diaeovend.

Tavonritc Airs /rom Salieri's Opera, Tarrare, arranged
for the Piano-Forte, vitk Aocompaninents far
Flute and Vioi.oNCEu.0. BmktXmiM, (Ikine
and Hopkins, CD, ConkiU.)

Ths day of Tarare u, we rather think, gone by ; it
net with no approral from real judges of mtnic, when it
was revived last year, and a furtlier acfiaiataaoB with it
will not increase the Duahar of mffrans ia ila intm.
The object of l&r. Holat aaaas to ham baaa aaathMid a
popular stjb of anaaiMBaat, ia both of irUdhhaoar-
tanl^ baa anooec

A selection of FnExcn Melodies, iwVA Symphonies
and Accotnpaiiinieiits by \V. EAVr.sTArF: mevxfrd* bu
W. H. Bf.i-i.amy Esq., Nos. 3 and 4, ^SkkMS,

eO, Great Hxisu.ll Street, lilnomibitry.')

The two first numbers of this -work were noticed in
pages 65 and 805 of our last \ jlumc. uml obtained from
us the prai!ie to which wc felt they were justly entitled.
Thest! numbers oontain, like the olhan,4hree airs, one of
than fepeated in the form of a duet Amongst them is
Iho nananally known French melody, MaUnvA, which
if bete neant to be song slowly, if we eorrec^^^oader*

Mfaligr

the diracting ward AffiBCtiouately."
air ia not lanmed hj thachnfa of liBM,aad a
jr ii thaa fgam to it fNaMr Ami m Aonld baTe

expected. The following is one of llie stanzas to which
it fa Nlr-M

From slumbers liufl awake, Une,
The dawn be|;in» tu t>rc«k-, luve.
And sTer the slMptag lake, lore.
The aii4iB)g«aianiaaki
Ths star* in morain^i gvtf
Am Misg fastaway ;
The mist Is on the hlU, lo?c,
And all arauod k still, lovs^
Save yonder fonatain-ri^ Igio,

The words at page 33 arc rather inaccurately
bat the error may be easily aiaended, thus, —

U4 ^

eTer thy wMs

At poge 6S also the emphasis is thrown on " f^reen"
instead of "wave;'' which likewise may be remedied by
reversing the crotchet and quaver. The air " Ob, tlunlc
of ne," it vorj expressive and sweet, and the a t c j oM
panimeota jalioioiis ; which indeed we may say of all
that haw appealed ia thia «ork. It is i
tliat deaerraa patmaage* boiag obly ea
brought out, aaid — dwiiito Toiy ■edeiata \j
parisoD — ^in priea.

Oust, " Honour unto the Brave," composed hy Dr. Wll.
Carnaby. (Cbuppell, 13o, NitD Bond Slrett.)

A very charming duet in the best Ki)j;li5.h style, for two
sopranos, or tenors, witli an Rctonii^iiiiiiiiut Mitricicntly
imitative to illustrate the words, without attempting more
than music has the power to express. The poetry is, we
are inclined to thinlt, a translation from the Fraichi and
appeared lately hi tha OriMlo/ JMd.

GUITAR.

1. IVsLTE Venetian CAWMSSxa arrangtdwiAon
AecoRipaniment for Ihe B*Ain»n OwtAM, J. A,

NuaKB. Book It. (Booaey and Co., 99, HoUe$-slreel.')

9. The Syren, a Miteelianjf of Aim* of Taaiocs Na«
TlOVa for Ike VoiCB omf SVAjrUH GunAA, hf lit

tnott esteemed Aulkcn. Nat. I to 9. (Oofer, CS, C9«Ht»

eery Lane.}

book of a work renewed leeendy ia
ItiBvdtaefeal to thelfat, aadai^F'
to theee voeal aMolMan a'ha

No. l,ie
llw ^brmpMWNi*
cooideatly bo
accompany tf

romantic insti
TheSuren is

toi

are accon _
lat, the Spanish guitarT

_JM of the best compilations that ever
appeared. These eight numbers contain most of the
mpular airs of the day, Italian, German, French and
English, well set for both voice and goitar; published in
a very correct maniter, elegant ia a|paBiaBea» aad at aa
uncommonly moflerate price.

[ W» mhK itftr tht remmtnler oftmr tetU

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THE HARMONICON.

^reijpt 0imsU9l %e|iort

DREIDBII.

TnoaljMval^iiftlh* AtMMOfcMof fUt pliMbbubeaa
ivffnl or m awMnm, oiHddi Mmmn'* UMaO (the

Judg-ment of Solooion) ; the muiie by Quaiiin. Thia compo-
tition rontaini manr ■inc'le piece*, remnrkiblc for the beautjr
•nd exprf s»iiin lif till- m> Iif!if< ; and wr» altitgr'tlipr rcrj fatoor-
•Wjf received. The o«(ier uperag pvfii were, Jeitonda, by
Spohr ; the Don Juan of Mozart ; the Faniska of Qierubini ;
Der Freitchiilz, Die fFiener in Berlin, Die Siehen liraiiehen
in uniform, Jean tie Pari; bf Boieldiea ; Preeiosa ; Ructini'a
BturUtrt M SM(^, m.OwriiMa ; hmI Dtr Rene Quttknr, u
•fmtt* is «K act, by BaMdira.

TTie lict at Ibe Italimn Operv bu beni u follovt: Roittiirs
Centrtntola, twic«, in which » nin^er, new t« this place, of the
luune of Rolatidini, supported tlic principul chiiractcr with i^rciit
■pint and cflctt ; H Tancreiii. Le Xozie tli Figaro, Im Gazza
L<uira, and Siita et (7'ju7/<7, hv Mrrcadanle, which wai gitfti
fimr timei. The latter op«ra pleaied couidentbly. It po»-
iMict omny jHccea uf interntiDf mniic, which m marked whh
Mok ari|^Mlitjr> and do not bttay th* mm lerritt imihtian
•r (Iw nMldM «r Fman, u Iks odwr umpoOium of diii
iMipMii. Biift Ik ant not k« CMMaaWb tta» it hn at t»-
riooa liaua udHfnt meh duu^ei, and kn Ind to maaj new
ain, as waO aa cambioed piec«c added to it, that it ia qaiie
aauther tbinKf from what it wai when it fint made its appear-
ance. After tills fiillowcd La Duma CcioneUo, hy Orlaiidi. a
piece whirli nintjiini many brilliant things la tlie present taste ;
// Maometto uf Winter, nn opera which, though its onmpciaer u
no more, would alone be tuflicient to keep hii name in reucm-
bnince, if tliat name were nut made iminioital bjr to nany other
mutcr-piecMinaliMMteircijdcpartiMntaftkeart; andlaatlj,
tlie TtiMUn erf trnHhtm of MorkcefaL l^a latter opera is
perfonncd now aecofding to the ioproved score of the author:
bta fimt, written for a humble troof, it comparatively weak.
Tlie iliief iharHi.lcr M ii inlruirabiy sustained here by Mad.
UerricDt, a singer, whose style i» nu leu cbaate, than that of
kf acBuf ii powerfal and taffaiiiw.

VEIMAB.

Mkaa kean Jojrnd h utfity iBftiiplaec, «» aMgantof tka

Jubilee celebrated kcR^ in commmaomtion of the Grand Dahtfli
karing completed the fiftieth year of his high adminiBtration.
Of course, on such an orrasion, \un\v: h.u held a conspicuous
plarp. e.irly as fr. e iti tli<' iricirninir the sound of bells siim-
uiiiiinl IliL' itihabit.ints t u the niHrki't-])I,ice, where a thousand
vui«'e» were heard Bhoutin^ m chorus variolu loyal SoOf s. A
temporary orrheatra tunl been erected in tka gMdant fronting
the Grand Duke's palace, and at early a* ttmt, % ""lAiem, tlM
words by Go£lbe. and the music by Huad, waa faaCmed,
■ndar tka diraetiMior tka eoavMir. Tka eflhet of tka wkole
was craod and knpodiif. AfivbrilllBnt ehords introdoeed a
chorus, the first strophe of which was accompani- il by :i tUlI or-
diestra ; the second was piven as a distant chorus, with .1 soft
harp accompaniment. -Xi vt f.ill iwul a duet of a very pleasing
cliaracter, wllicli led to a prand choruii, which formed the finale.
This was so great a favourite, that its repetition was called for
during every day of the ftotirity. On the Snadaj, a ftand
aalala. tkapo«bf7kjBakaaBM«,thawuieb7AanNl«,«H

perfonni-d in the cathedral church, which was throag-eil afanost
til iiuffocation. The piece consisted of an openioi; movement,
cliorus, recitative and air, with final chorus in a spirited fugue.
The composition was excellent, and admirably performed ; in-
dted, aadi ii the interest that it excited, that it is shortly t»
maha ita appeaiance before the public. In the square fronting
tka paiasa. tka niisicians of tka daeal kaad playedaad anr
wiUi Oanaaa imds a hymn to tka tBa* of GmT MM fA« JTIisf .
But the most important p«rt of all, io a musical point »f vieVt
was the opening of the new theatre. Afker an appropriate pro*
loi;ue, by I'rotessor Reim.ir, which was dcHvcrcd with great
spirit by Madame Jafemann, the Srmiramiile of lUiuini
was performed, in the It.-dluii l,in^u,tge. It nus very favour-
ably received, and ha
iirtenfy of ofaaiaf a Oennaa Ikaataa witb aa Italian apan {
bnttkaftatii, lfcat,liiNiwiancaH«B,wki(liM(daatke4a-
tailed in this place, it caiild aat ka oikanrlie. Our aaatam
remariced, that, by the stda of auny pleeei of great power and

merit in this opcru, there was found iiiiicli lli.<t h Liiililisfi, we.ak,
,iiid liorrimed friim sources fannli.ir tu 'jvrrv one. Tiic opera,
though iriven entirely by Gcnuiiu iuli^fs, was very elfi-itivcly
perf<>rnied, and was hailed with loud and unaniiuous applause.
The decorations, scenery, tcc^ did great credit to tka artitta
employed ; they du|ibyad fiaat dai^ iMtak and a power of
ooneeption kif kly koaa wa M a to tta partiM. Of tka tkaatra
ilael^ BuAce it (0 «y, tkat the buildinr ia. at oacab aoUd and
elegant ; and iriih respect to sound, has been declared by eooK
petent judges to be admirabit- ; Indred, it i> said to be sur|>as«ed
in this respect by few theatres cither in Germany ur any other
comtfy,

ETGTGAltD.

The opera aeaion here has been mm dun nsnally eActira.
It opened witb our worthy KapcIfaMiatfr LindpaiaitBa'a aptn
Am* JKfi^|^UM|fir wbiidi waa pvaduad two laaaana dMai and af

wUek we had oeeailoa to spoak In rery fhiwirakle tcrntf. It

h.is lircn r.'tri'fullv rctiiurhrd, and si^'.crnl critical hints from
renpi'i t.iliir <]a:if lt r» lnvc not been necleeted. It was lollowed
by ('m il, l irnai, of Krati/I ; .,4Au-//aMfl«, of M. von UVlier ;
and Mehul s L'Avengie de Toledo, Done of which, however,
obtained any faToiirable reception. — A tragedy was produced
from the pen of Michael Beer, .entitled Der Porta, which ob-
talaad eoMlderable suecese. We notice it in eoniefucaee of a
■awaaaftaw and a funeral aaiidv eaaipaaadforitbyKa|Mll>
UHlrtar Undpaintner ; eorapoitdona wklch are mirikcd by paat
power and originality, and show a fine judgment in the choice
and mauagement of the inatninicnts. They were both warmly,
and niodt dsservedly applauded. — Tlie celctiratrd roniii; per-
former, M. Wurni, has lately paid us a visit, and delighted us
with his unrivalled comic humour, in tlic opera Der Singer und
der SekiuiiUr. After this we had the well-lcnown tenorirt*
Ilaliingcr, Ihiai Vienna, wlw gare, with lui aocnatoinad pamm,
lUaiafiiw ki OCill^ Undoro in /Arfi'ana j* .illlrtr^ Coi^
vifmki ilJAtrMsf* dtSirif^ia, and Tanlno la DU ZmiAatm
fSU. Madame Nenmann frotn Carl&rube, alci n BO eiffi !i\<'lv performed here. After this were piven Hon
Juan, Ln f'eslale, Le Nozie di Figaro, Per Freitchut:, and
Axur. — The anniversary of the great Schiller was also cele-
brated here in the town-kaU« to whick there wat a free ad-
mitsion, u to a nalioaal tt^Mtf, On dila aaaarfw^ a aa^
laiipiiaiiwaaapaari U b r twet l ag a a wm—a rt to the nereory af
lUi Maalliaw innaaaiil aT Hiiipaaj Tbe principal part af-

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THE HARMONICON.

«1

the pfrfonnance consisted |uf the nunga uf the poet, as set
to miMie hy rarii>ui compkMcrs uf finiiK^nci*, aiuon^ which
WM particularly dittinguiilied the songr, If'o ut lUt Dichter't
Waleriamir ( Which i( the po<rl s natirc Istn-I?) let to
amue hy Sikher, Miaiodirtetur ia Tttbingeu. which by iu
ifiiit tad l y p raj iifalB tipwwiiii edM Cvtlt a ipoateneaus
Imnt of ajntlMiMj— Id liuich wnie «• hai • Mf alar Miin af
tta man» of Haydn and Monrt, lAUk wm ghtn la tiM

C»lhiilir 1 lurrli H-ith full instruincntiil occompotoiment* ; as aUt>
wait tlic Hrijuinu (if Minart, uii the l.itt sultinn feiUivity of All-
Souls, anil ii ^rand Sali f Hr^ma, .1 rirn t ornpoiiilion by A. F.
Bauer, wkkh has beta muuh apukeu of. aa blcadin( much awcet-
aMtrifh

w» if Mt via a rapid,
■t kiatwilhaitiadf pica. Ow dHtt opan aaaaan lai not

bam witiMut Ha tteelt, and lban|^ our orcbntra can make
BO other than Tcry modest pretemion*. yet, upon the whote,
t-hrrc has been nu deficiency, and the expcctatioDS of the public
liavc rfttlicr been cxrecdod than othcnrise. We have had
PHisif lln s .l/'///.i«ra, W'wiitt'* Saerifitin intrrrotto, Rotiini't
Gatza Lailra, Salieri'* ^j^uf, Paert £ar^/tto, Buieldieu't fVi-
turt renvertie ; Une journit k Parit, by Nicdo ; and La
0Naig», hj AiOm^Wa Um had a vaiktf af caaaatto bjr dif-
! aitiila win hav* viiilad a* teOafr mulcal traftk ; «ha
•t remariuble wu Aal gi«w bf tfw ealebrated BenUwrd
Rocnbenr, on hit return from wkat wa aadtntaod to hare been

a rery tiiccrjuful tutir in Kiifsis. Ob Ulil OCCaaiDn lir i rrturmed
with that effect vhich an author only can impart to his own
worki, his grand concerto in H minor. Thia noble picture of
tpoea contain! erery thing that ia coMonant with the dignity of
the art, and ttanda aa a ■adal af pneaaaelliaeeiBthiiia da>i
«f capiiea and ntlNMniganee.

NAPLKS,

Tcafra 8. CaAt, Tha lonK-pramiaed produadoa of R«iatinrt

Uaometto here at laagtli took plaea, but the opera met with a
very cold reception. Afterwarda vat given a new opera en-
titled Amazilia, which made a fiatco, thouj^h the Corrirrr ilrllr
Dame tried to cuuvince the public of the contrary. It » as from
the pen iif Sitcnor I'arini, who after a lunt; illnes* i« a^aiti rc-
■torcd to the world of uiuaic. A new i^raiid cantata wna aJao
given by thia eompoMT which pleaaed much. DiilMu, an old
opera bjr Mercadaatib inn pivdnced hen for tba lint ^mt, but
oaltad BO iatiNit*

Teatro Foudo. Iflle. Uager uda a Jkrett ia Goglielmi't
opera buffa. Amort vinee tutt*. One of the joumali of the

place exclaima, '• Here is :\ (iriMn Junn.i u-lm pre. rots us iti her
acting with ihc very l.'eiiu iil.'.tl i.f llic i uauc upcr* pcrbouilied.
Har beautiful voice, wliu h Iji'-immIss the best of all hcIkhiU, her
■dodrable intonation and elftHrtive acting^, made an impre»«ioD of
flie neat powerful kind, and at the end of the opera the was
apoB tha tuge amidit loud acclaauUoaa." The aamo
t attandad her repmeuution af lha charaaler of Raaina
ia RiMiUli AwMmw. LaMa cbe too waa iniaitaida.

IWivITm**. AveiyplcaaingtingerartheiramearFnin.
ceaea Paer made her debfit in the character of GrUeUa, in the
opera of the tanie name, and obtniaed n very flatlcrinif reception.
Tlii"" tiMii.r, .\tJSelo Quxdri, wlm was alini new to Un'se b'l.inli),
met with a favourable reception, ami wai nut le.i* admired fur
the power, beauty, and deidbililjr of hi.s voice, than for the finish
af hi* act^ i ntre qaalileadMU to be found united ia oar timea.

and

appeared fur the firtt lime in Ro«uni'( Jnguitm* feliee ; the
obtained preat applause, ;>ii'i, r,t the clote of the piece, wa»
called upon the ttace to receive the congratulation* of the pub-
lie on ber return. Report >ay>, that Koatini has adapted the
mutic of hit operetta Fiaggio a Rheimi composed last year at
Pari*, to tlie words of Ike old fana II Matrimonio jirrConcorso;
■adtiiat it k ihaitl/to ba piadoaed aft the 2Wm& CmAu.
Boiaiai b a aianaaar wha wffen aatUar to ke hrt.

MILAN.

Formerly it was the custom to have an [interniitisiun of operas
durtn|>f the latter ji.irt nf the vcar, but lately thia usas^e appeara
to hare been abanduned, and there is no interruption of per-
formaacct. But as there are now no works of merit to occupy
pakUe allealiaB ftr ao loiv a periadl aa eadtaa ta pe t ili u ii of
opeiM, ai bariUnr aa beuaholl bbmi^ ml be tta a ieia
Miy coaaaqnence. The liat of parfMaaacca at the Teafre
CaNoU/aiui, for instance, run tkna : Tanendi, Cenerrntofa ;
Tancredi, lirithicrt ili SirigUa, Crnerrntola ; Tanertiti, Ct'
nerenlola, llarltierr diSieiglia ; Crnrrenlxda, Uarhirre, Ta$t-
eredi, Su. ; with Bometimeta solitary interruption uf Jt Matri-
monio Stgrtto. The sintren are nearly all the same at last
tea son ; the only exceptions are the baflo eonrieo, Oiovmnni
Coppiai, aada Sigaaia Dnnarl, who ia aananawd i
Imi tha Italaa ThaatN at Paili, ahd wba hat eaiMbil j <
at a iDott hicfcy BMNMBt^ aa the Signon Oolembelk was taken
ill the very day of ber arrival, and has eoatinaed to ever sttKe.
.\ short time since, Mn.I.rni- Teresa Sesti appeared Iuti- in
Pacini's old opera. Lit Oioeentk <li Enrico ; her perlkiriii-
aner i> still liii.'hlv ri-sj.ectaWe, but Tears will ciime on, and
unfortunately their elTecc is visible to all the world, except the
parties who ought most to be aware uf the naphavnt warning.
ShethoMi«ar, aaagboftabw nights, and vaa aaaeeaded in tha
pavtbf aSi|^Ml•PaflnNfni. who rnde bar MAl hera wi«h>
talanUa HMaaia. She is a preUjr woaiaa. and what war
wintiiig la Tolce. was made up by persona) attraetinns. By the
way of enlivening lii in thi' midst uf (hia dull nuilitie, we had a
visit from une uf tl.i' lirit lii.anilnline players of our time, Sij^nor
Vimcr. wlin h.i< recently returned from his travel* in Krrince
and England. He played a concerto between the acts, whirh
obtained cunaiderable applanie, Hwaghtth hNtnUBent it by no
means a fimarite hapt^ and aaaf a lagnlwaa eipi eased, that
sacb triiaili ahaaU ba vaaMI apea to InaMnl an iBstmnwnl;
Ai ia afNiaa, w ia bdele, ttere haa baaa aodring new ; but
Vigaadraade bi atod baBet. entitled, ifaee iff Jtenntnto. was
revived and met with great applause. Th.u n little Udlet like
this, with all it* abtuHities into the barir^in, (.hoold li.irc picaai'j
in Italy for twelve whole ycur*, i» a circuuis'ance unexampled in
theatrical liiatnry. But we are aurc that the piece owes the
greater part of thia luccen to the beautiful and expressive nunia
of Sikstmayer. a music which Vigan6 knew well how to torn to
such good account In het, it is to batogiatMl ttat lo nmeb
ezceUent hiHet-anaie afaacillant Qennaa naatert, such as of «
Wcigl, and aa Undaar, abeold tamiadlately after its appearance,
be swatlowad np la the vortex of oblivion. It is onr Ann belief,
that many • eompoter woold have written more melodious,
rhythmical and characteristic music. h:irt ],,■ I, cfjun by composing
ballet-mmic ; and it ffl%ht not, perhaps, be amiss to offer it aa
a piece of advice to the young composer, to exercise his latent
in this way ; but then it aiait be in gaauiae baUetHnutic^ aad
not in the trash fpMdt to fiaqaandf uaipa that aaaia. That
the muiic af BtoMfar, trtM baa aav baaa familiar to At
pub&B far a b oti In mi tw H y jmm, AmU affain pleait aa

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•9

THK HARMONICON.

reriral. !i > proof tliftt tb« renUf food mi feeraWnl aater
yniw old.

Ill tlje Tratm Re, thrt'c /"r.<f r:i kini uf muilcal vaudeville
ill <inf act.) have been prodmcJ; t'l rjt'tlto naluraU, by
Giuseppe Fiiriuelli, Z/« Capanna MotewUa, and /< Co/i/o </i
Bagdad, but they auute but little lll|imiiulli
. TIm /g<wto Iwi bwn ii a Ji f g ai^f i»iw»w— m tint oolj
Ml Qfia. WhiB A* fcnner mt Vmf^
i, h WM with Ae old oamfuit, aal If afcadanle'i
StiM » CUudi9. vlueh £iil«l tlira«rh dw fiialt «r Hm
many of whanu mi B«Mttf pM4suhr» m
of tune.

That well-kno«nt tpcealator in thcatric;i!i, B.irbaja, who ia
now at Naplea, wm lateljr here on bit return froin Paris. It it
geoenilly uiMlmtood that, in eoojonctioii with three individuaU
•tf Ikb fkat, h* k to Miiitoki tha diNctian of the Coait
Item. Nif Mpathalort, IkatkthM formed an

•Uiann with the iMi«iM li ytMim, and wi* hit «M ftimi
RoMini; that they an to Mfc» a bold mm, ui ■■diKiii,
at one and tbc lame time, the direction of the NeapoUtaa,
Venetian, >fil.inrse, Vienna, Pari*. London, and Ifearen Inom
what otht-r tlifiitrev ; eiipapc the wliole horde uf »ii)L,'i'r». ani!
thut di«po«e uf tlicm *i will, dxaftin? tlicm from one theatre
to another, like to many soldiers who dare not open their
I to coaplain of superior orders. Erea if thia iiag(r»aBd-
H^wopely should not be found practicable, U ia iaU»(iwk
rtlaadiif batwaaa the diffisnaft Bungant
«Hitaa fliAaM* «f *>M FMpd *hMtrM of

Europe sboold take place.

After this came PacinPt OioventU dt BmrtM Fl, and to drive
the public into the e.\lrcuii' uf runui, wlut shculil fallow but
IhlV very old and most provokiagly familiar friend, ( 'mrrmtola!
At laal. however, came a new opera buffa, entitlcil Qii Awen-
tmriari, the auuie by Sifnor Cordelia, a composer who is of
H^Im, aad already known to the public by tereral operas. It
«aa laeeived kf the frianda ef the author with tflKm ; the
other part of the aadinee nwuMd ailaiit. far tmt their ox*
prcstioDs of dieapprahatioii ailght be puaitbed wHh aoothar
indiction of CetieruiUhi. On the three first ereniitft, BOtwith*
standing the mediocre perfornmnci- of thf .•^irlff r>. thf rutiipusiT
Wat called up<m the stxi^c, and xhligi-d tu luuk ilii;iilhed in xpite
of nature and hit stars. The music of this opera contain* luany
things of a praise-worthy kind, both in renpect to song and
inatnuBCBtation, thoofh without any pretentions to much noreltjr
orikbiww of iiuicj. The freatar |»rt of the acogaqnniiMnte
waaa, ho««*ar» to the Rootinka a^ki. hU ef noiae, aad Aar-
fiiljodiniHactd. Tho vocal f«to ham alao baas aid to he-
laof to the taaie' lehool, hut wo Ihfari^ Oa faB|mtatloa oot
jMtly fiiunilfd ; iiiiii:h uf it certainly belonft to the older Italian
Bchool, and brcatlien a vigour iiut frequently heard of late. It is
true that several i»f the crrterniloi, at present so much in fashion,
are to he found in it, but they »re not injudiciously employed,
aad enough remuns to tbow that the composer would well hare
d i ap ea aed with the use of them, had ho net boea ohiifed to
•aailieotofhecapficioaa (oddiaaaf fha daf. Tha Int iaala
bears too ttroof a Mfauilf to ttal of the Don fl twa a^ and
brings the very idiaaoflloaaA too frequently to

nOME.

Tha
bal il ia

thaitfaoo Samtt, toetohaTobeeaaoopefai.
Oat Sifaar Baih^ji^ tti gtaataHaagav*
the thaalie herB^aaiBMnatoaMlWiip
hjrtnatiaf HwHaaaHto h

tpteadid opaia Aaa they hare eajojed for maay jMii. Wi
maa aHMt Hitl/ bo ia if^ fiTOor •! Mm Vataa.

BOLOGNA.

A Mleaui Jtefwbn iru performed here in the chnrch of 8mt
W aaeaw Magghn, to the aiemorj ef Padre If attet, the wdk
kaeani leather of coonter'potot to the maeical Lyeeum of thii
pfawe. It waa abljr led by the compoeer, Sifaor Oioieppe Klott^
a leholar of the deceated, aad the parti were tanf with feeling
coneetoeat, and spirit, by the jtafOt of the Liceo Mmicalu
The church wag entirely huny in mourning for the suU iun orra-
lion, and in the centre itood a mauoleam turrounded by lighted
tapeiB, on wUdiwai laad Iba ftOoaftor dMfe iaaoriptfan t—

Stanislao MoHeio Sac
Qui bit «s CMU FfM. Vmaacise. AMtrerwn
M agiilBO Lfaei Moaiei .
Eiimia ia modalis ooBMataaas tacror. edendis pneataatia
Plerorunvque crtum Symphoniacorum co-optaiioniboa
Mas. Principum EpUtolis et invitationib. iteratis
Per Luropam clariHimu
Fran. Brvit»|ua Arrnslui, March. Srnalor,
Ya roBsilium XXXXVIII viroram civitaia .1 iniini'iriiniit rito
da patriir gloriS Hcjiir Minicrs ituriionim pro^rcasu
in oxemplufii merito
Uir ab excrsfo cj«» iri?r»»imS ^
Sodalibu* et alumnis
Liqtahcit canitu etitiimatiooia, giati<iM aaiaii eigo

FAtUHO.

Teo^rs CanUtM. Thaaaaipaaar, Doniixetti, from Ber^;amo,
of whom we hare before had oeeaaion to speak, is rhoaen director
of thin theatre. On eaterinf upon hit tlicnlrii a! duticf, he rom-
posed in a few hours, upon the spur of the occositm, a cantata,
which was sun|^ at the opening of the theatre, and by ita beautji
brilliancy, and appropriatenesa, produced an impression eveiy
way farourable to the compoter. // Trionfo deUa Mutiea lUU
]amti, la wUA Mad. Feran diiptoyed her adarirable <alaetas«t
wdl aa la Jl HbMnoato 8tgr^, of wbMi aw aet mitf wm
fives. Thia node of divtdiag opoaa ia aarelf ** a custom thai
would be men hoaonnd to the breaeh (baa thaobeervaace."

PAB18.

oaif pmkodf to lha wpta a eatatia^ wa baid^
■ndvaa trtlb Aa hope of eeelaf Aa ao mA
talked of SimtMmti, Tboio aecoatomed to the antter ia»'

quired if the fatal ronipany, nntned in the bills, would out again
(linuppoint curiosity. \ new atid »trun{p attractt<m excited ge-
ru-r.il I ■c]i. c1atipii ; it vt:%» to compare two celebrated rivals in
the SAitic character: and those who were now aflunlej the up*
porttttdty of manifesting a party spirit, appeared as championl^
ready to prove in fight who should retain the Babylonish tbroae*
Neverthdtaa, let a* haaten to aay, there would bo injuitiee ia
deeidinf aaaiiiBttnai, where Ae appidwaiioBt ariiiaff baai a
debAt, aad a luftriaf state of healtl^ did aot afoed to MadaaM
Mainrcille the opportunity to display lite plenitude of her pow-
ers. Honour dcniBDd.< that a rurahat should be equal. We will
then offer up our wishes, that a rajiiJ rc-cstablishtucut may.iliow
Madame ilainricle Fodor to diiiplay that pure and brilliant
voice which charmed us five years ago ; and to prove that the
iky of Naples, under which (lie baa iibiiuued tiwli luperlativa
anccen. has not exhauited an lier weal paweiB. ForT

action, Madaaw Paito poHcuei an beonlaaliblB n|M(iaiilr|
the penanatia irilb aiaR uwjettic digahy, iha ihadaa mm Wf»

Digitized by Gopgle

THB HABMONlOOir.

•nd d«Tftlope* tke nwia ttyria^ of the part. In Um tomb Ken«
ab«n all, wlicre she depicU UMteriukl (eoderam^ her pMliw aad
Mkiona lake « prufoundly deep and p w r eifid eolMtjag'. The
snmMi cufliilaMMtt wMch hm facn mii^ Agrtcn the dim>
iSiamttiktSf^HteU. AmovitlteftnrbeMlirUdiieia which
Ihb dltUoB MOtaiiu, three are rcUiiied. The a(linira1>> fiunle
to die ffnt Mt WM perbape better reliahed than at the first re-
prcsrntation, od the cftMr k !■ feflHl^ Om iMttR «ilKt it viD
prutluce.

After the first ncoiations of terror announcinf the apparitinti
gf Ijittui, the choruasei and orebeeUa itop lodden^, thi gmtni
OBIhffnation U exprested bjrthe foUowiiif
ia ii M o mi iM and in w under Toiee by emA
" Qml mnlo gemito," Ae.*
What l^roan >> ttuit winch iMaes ftMidM
My Wood fn-cirs in my voin»!— .
1 iiri I'iL-ftltiL Il>i u-rutr!

nk air in the uiiiiur krr contraaU well with the (^ndeur
and brilliancy of the proceeding piecci, and with the labaequent
Pre«<o, which c«ncludn the Mt, Tht pntt flfJbvMv adglit be
nade the ino»t iDteitMfaif of bb Mir wmfc; aalfartnntcly
Ifaah. BdiiMMtri itagt It ; ^he i» lamentoMy weak. Madame
Vmm, aftw iMftaf oa WNBettun^ to with in ber fint cantina,
laiMiM dirine motnente. both aa a trafodiia Mid ft rft^jw.

A Oerinan herdamaa and laboniw, «f die nme of
i* at present ailonl«hin|f all Plurb by hi* peifonn<
I M the JevVteip. B/dint tt gtwl tpplication and prac-
)• BH ooavartid thb feMdit aMgrVi waA wi\pa inBtniment
» one of tbe mott llifa^ lniB«Niioai, and flexible charartrr.
AraHiBg himielf nf rixteen dffferent harpa. which he manaprs
withiurli (l' \t.^rity tlml llii? time of the music ia which hcpiayi is
ne^er sniin i.ili il fur a moment, by the rhaniri' frmn one to ano-
ther, lit' runs witli cnsc ■ivrr fuur iietavi-?, ami executes witli

(nat grace and exprenioa the moat dificult Italian^ Vnmik,
ill

Mr. P,^l.
IHr. Sinclair.

,Vr.

.Wr. Bnlf„rJ.
Mr. FUnilliaat
Mr. Harkg.

09crg9 Maalhimi, aad **eMiipaMd, Mlalid, and aimged bjr

Mr. T. C.Hjkr. ' The story U cxllected Ami thiTaiioUB I

atiiibated lo 0«uan, and the aiaiie ii, iar ite mdm fart

tainlf, ft HiMdim of Sooteh and Iriih AIn.

the dMMtaS aad tUr rr pre K n t n t i V 0 s •

_^ Calkuuma>s.
KinL-ul, (Kin^ of Scolland) ....

O'rtir, (his Son)

TfiH iir, ; 111 , - , f Malvins) - ...
Siatno, ( hi» Wnrrli-r) .....
Huro, fO«a«r'» Attenlaat) . . « .
Shilrte, (a Pedlar) .....

Ifalviaa.

Cathlin, Qm AUea^atJ ...

HtaatRUiiB.

Cathtinin,(I.ord of f 'Uter) ...

^f'V"- IriahChiefuin. - - - . f Vr. 4r

Conlalh, > ( j/r. (!',

Moraa, , , MiuKiOf,

BydwMpaf a good dad of baantMoT aecBery, dMacnloT

performer!!, nnd n pre-disposVinn on the p«rt of the public, lhi»
hat succeeded remarkably well : and we are glad of it, for tii«
bmie wanted lomething to refbaU Ma
laaniwidi ptaMHR ia fUiaf llNt^

• JNwAHy.

- Jlfr. Horn.

A >r Vr.

King's Thkatre.
TWB Crociato in Bgitto, ao sadly got ap tbi> teaion, bat. for
WMBtof aaMlliiaf abak caatHnwd to be perifaraMd to baiues
not over lid^ iawlikh urden were abundant, and ^oixl conpany
maarkablj aeane. It ia true, that Lu UoHtM del Lmga has
keaa attempted dariaf Dte nMialh, bat witbont aay eaceaea ; for
) Caradori, to whom the part of i?^na wai gireo, was
I very atrong In health, and, except Signor Curioni, she
traa badly nipported : the (hmriuses in particular, the best part
aftfc>«peti»waia wretchedly weak and iiByeftwt. Tbiadepar-
MMt Ik {BtteadwidieBBeBla, aaidtoba wacbatnagdKned ;
.hut the- Te\\ r.u t iii, that tlu! number af penom i» diminifhed.
•■A, sew o pe ra , by Meriaccbt. wm aMMaMed catty in the Iwt

CoVENT>GAai>KK ThEATBE.

Bmrr » new piece In two ael% entitled ilTorsA. or the Girt of
Brim, wrtUsgBoiteal bee beeaperflNmd atdiii theatre darbig
the month. Tlie cumrdr, or tnigi>eomedr, of The French
LibeHine, hat been acted for semal nighto wiUi indifliMren*
iaea% and wt hear ia aihent to he wIMnnra.

'^f)t ©ratorfo^.

Tmb Kiog'a Theatre liat al^.tys tltc precedence in name j bat
aa ccnnected with Oratorwi, ia alwayt the bnfe In lonfc On An
mh of January, Kiqf Chartea't Hartrrdom, a portion of The
JfanM wae attenqitod, and leldoa bat been to miaerably tacri.
ficed: tlvere wanted only mnother thief, to lender it ft pmkat
emblem of the Cmei&tion. After (hit, aome afreeaMe muie
aaleeted ftem two 118. opent by Lord Barghenh, waa per-
fonneil, an l ir.ct with .» eoiisiilerahfe share of genuine applause.
At the cMDmenceaieot of the real I^ent KaMW, a regular Ora-
toiiek en eeefj W i d iiida y and Fiidar. wne anneoneel b«t

after the first few dsn, the Wednesday was dropped : and when
the nest week arrived, lo 1 there u'a» no perfvnnatice at all, tt
any kind, fbia by meaan etwpeiMd ua, for, after the aaaqli
of thne or Sour aifht% it did not appear likely that the public

We antit^nlt veiy little from it; for 8%narYirilnirapartfiaB>
atitutea nearir the whole of it.

Dni RY-I A>E The VTHF
A New " National Ualiad Opcrs,' named Malviiui, wat pro-
duced at tki!) theatre on the 4th of last rooRtb, written hy Mr.

«al.H»p«|alM.

would throng in crowda to witoesa tuch incongriKius billa of
and to be ditappeinted of what iht adrertisementt pro*
ntaed. Uoaibelae wea ftnaotoMd at engaged, tboogb be bad
never been applied tov and lAndley wae «et down ftir a eooceito

MiilcMit r-rn'MiiE' iiii'.'i !■ (if III- iiiiiiiiii'Or'-- ii'.leritiiin : the Conse,
quence wae, that the former refuted to appear, and the latter
JedhMdtoplay.

At ('(ireiit Harden the perfermen xrr entirel.v Engiish ; Mi««
Stephen, Mitt Patoo, Madaaw Vcatrii, Meurt. Braluiu,

Digitized by Google

.THB HARMONICOK.

bM f««MMi tirfM to •iwflMriar tawi, m4 te a nrt

cffectire ra»nn«r. A piantv-fortc conrcrt.* tn M<«rhc!i>s hsa
■ade » great wnMtton, and maoj other <uir»ctiuna have been
■OMMAillf vfend.

Oit \Vcdiiaiij« dw tU of kit moodi, a new MS. Omtoriot
ia two act*, emipoMd bjr Sir Jabn SteTenson, who it M wdl
Itnown for hit many bcautUuI nMlodie*. ir»» perfonned for the
'fint time. It ia OMnai TkmUugUimg, and ouyht rather tv be
called a collectioo of tMitatim, tin. coweriad pieeei, and
•cliomttc*. than an oratoriu ; for ai the word* consist entirely i f
detacbadicriptnral paanyca. having not the slight»t relation
«• to the eflier, tiww la ■«a*ir of » *MMllB kW fa ha form.
D(,r rv.jn .i ii.-vrrnt'iu' 1" ronr.rr- the variou* t«xta together.
The compoMr h*» not atumpitd iimcb, and haa confined him-
wM MAj to dia atjle of Hnndel. lume vt whoae works he
appeam occMionally to haw had in bU moMiy while trtitiaf U*
prewnt cotnp<»«iiion. Not that any iatentional plagariama are

Vpperrnt. Tin' airs shfW, as miijlit havi' lircn oxiifrtod. a

atniggle in Maitb of nekdy. bnt are not remarkable tor ori-
ginality. The eoneertcd piecee haw maflt, and aaiM rf Aem
produrrd cnntiderable ctTerl. The < buruAsei at their commenee-
mcnt, lead the hearer to expect (ometbing of a auperiur kind,
battoooAendlaqipoiiit hiahopei; Ibe taH^homnr, If grand,
and the winJinif up of it is partieolarly iaporiar, aad wai
ttroDgly felt by the whole audience. The oratorio waa cnccd>
iagly «dl pafAmed. wuLmtini with a fair ifave of applause ;
Iheugh it rauit be granted that no enthaiiMn in iia &v«nr vaa
Mhibiiod by the pablic. It *M np«Md m (to Ukmiag
Fridar. mi dmr » tDtaiiblr ftaH toMt.

SOTAL ACADEMY OF MUSIC.
m Stmf chiifW Itfidnt the character of Mr. B<Khs«, having
ncenlly appealed is MtenI of the public prints, the Coaindttee
of the Royal AsadMBfoflfMiafthHtobc their dnif to la^iiin
of him to »tiite what naaavna he had adofited for tha pafjpoM of
rrfutiiiL.- s :i 1i i liar?e» ; and Mr. Bochaa having declared to them
l,itimiitti-c hiive deUrmined
that, till the result of those procccdint's yhall be known. Mr.
BochsA shall di»continue his .-ittcndanee at the Koyal Aratkiny
of Moaie; at the tame time the Committee tliink it due to .Mr.
■piH^tHi to Itete, that hit conduct as connected with the Academy,
during the Ume he haa beea anpliil«d ia it. hu been iuiim>
peadiable in every respest.**

Tbe foregoiiif pmgraph has ai^ieared in several of
the daily papers, and heartily congratulate the
frienda of the Academy, the profeiwns attached to it,
fto fiiento of die fiiplk, aad die foUie at Utise, on

the very proper course adopted hy the Cotnmittpe to
relieve this Institution from tbe serious imputation
nderwUdiitlaaliKbeitoUlmind. Sliiel jwtiea
nay be confidently expi cie l from the individual rc-
■paetebiUQr of the members cnrnposing the Com-
mhtaa. We hope MitnBldwyirflld»lb«irdaty

■r ugriM. W« MS, paj putiedir iMsalliiiilv

the proceedings, and in due time fully aeqtiaint our
readers with such particttlars as we at present
pooen toA my I w rei fte r obtalo.

Latilt died at Milan, Signor Ambrwiio Minoja, many years
dineloroftiie Conservatory. He was a native of Ospedaletteia
the district of Lodi. He studied comterpoiat at Naples, under
the celebrated flata, aadcoiBpostd sercnl e|Mns finrOe thea-
tres af fioae aad IfDaa, omibj plecw of ehani annie, aad
varioas instrvawntal cempodHons, ef irtleh fbir qasftotls,
titled / niffrtimenti dfUa Compa/rna, enjoyed considerable suc-
cess. In 1797, he obtained the golden medal of lOOducats' value,
awarded by the then Ocneril Himaparte to the best funeral sym-
phony in honour of Gencnil llochc. On occasion of Napoleon's
beinj^ crowned king of Italy, he composed a F'eni Creator aad
a Te iHum, which were performed in the Cathedral of Milai^
by an orchestra of two hundred and fifty persons. He also C4M*
poaed aCaatala far the feai^, «a the nauiiH^e of the Vhiiiof
ef Mj. AD Aaae stomd «to hand of a master, ami added
much to the Tspatatka of the eompoeer. In tlie library ef
the Italian Society of Acta and Sciences, is a Dt prtfundU
ill tliroe pHrt* by this same author, which has been spoken
of ill terms of high praise, i«nd in particular fur the force
and beauty of the iusitrumpnlnl acroinpiiniiitcnt. He was alae
distinguished as a writer of taste, and an iatcrestuif volantib
from his pen, which appeared in Milan hi ISU^ entitled jMtCfW
jajWB U Caitio, was tianilated into Oenan.

Tn eaee-eelebratcd theatneal Atger, CaaaLie laflUaaVt

dosed his chequered life at Worcester, on the 8th of Pebnisrjr.
Hit was a native of St. Kcvrrn, in Curnnall, and descended
fmra B re^pect.ibie family in the Went uf England. At an
early age he was placed in the choir of Exeter Cathedral, and
studied music under Jackson, the celebrated composer, which
situation be qnitted* and entered on board the Formidable man
of tntTi of tSfanii ander the cemniand of Castaiot ainoa Rcar-
AdnM Ghted. Oa the West Infia sMlaa to daagad Us
sM»a«i sirted m. toasJ the Ba<saw>aMe> eft jaa^ than
eommsnM by ImA Hsmy, where his Toeal pewefs aad
s[)rit,'li^li;ifs? uf character endeared him to the officer* .-^nd men.
In tlui bill [I tic altrncted the notice of Admiral Pigot, Com-
mander .if ihr fleet, who fre<iuen(li- i-i>iit t'>r Iiuleilon, and aan^
catches and glees with him and .Aiiiniral Hughes. He returned
to England in 1783^ when Admiral Pigot, Lord Mulgrave^
and Locd Harvey, gave him letters of reeomneBdatioB to Mr.
Btoiidaa aad tto hte If r. Caiman. His int ipiiritaact sa
Ito stage ««i at geiitha mp lna» la J lpkm mt la tte GuOt
AmMuth, in VTM. Tn the seat year he drst appeared at
Bath, as Be!v in Rosina, on the same nipht that Sligs Bnin-
ton, aftemards Mrs. Merry, made her first dramJitk essay in ths
ir,'ic GrrriiJ'i Daii/fhtrr, and bUbSt^BSBlfcCSBSBr laa tiB|V
is too well known to need relation.

His voice, when in his youth, was one of the finest and most
powerful etrer hsardL and his eMcatioB of tto celebratsd son; of
Ito "Btom* WM^aetaMidy 8savoealeitol,totiilsouaahi^
trionkeihibitie«.peffeeliyaaiq,He, Uto toe aiiBfef Ito mat-
ben of his profesrion. he was fanpradsBl^ bain hsstoen stated,
and injustice to his memorjit oagfat to be lecorli'i!, th;<t taving
thrice married, he upon nA eeeasion ssttlsd all he pust«ssed

ip«B hh AIUnb bj ttoprnwdtaff *>»ii4f<^

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CONTENTS OF THE FORTIETH NUMBER

OF THE .

HARMONICON.

Pagt

Meniuir of Julin Peter Pixli 06

On PMlm-Sin^n^ ....... 60

AlUnitetotiNLibofMclml m

TM Royd AoadoBj of M wh nd If onieur Bodm . M
Financial StiUaawt«rikalM*T«rk*liiraPcttiral . . 71

Urg B t bg i m —TmrtmSinigagUm ftrmfa ufw

tirrilam — F'aris — AVw Ytfk • .... 79
The Ancient Cuaccrtt , ,
PhUhannooie Conceria . .
Rojal Acadenk Coacerto
Oimtorioa ....
'J'lip. Drama. — Kii^'illmtra
HiaceUantotn

litcbirtD of iKutic

Encjclopcdia of Mutic. hj J. Diuineley
liuticnl Uniininnr, by the Mine .

Uiiitarr Divprtiiiipntii, bv Kcrd. Rif«

Air iViiiii •' ' «iili \'»r<., 'ly dittii

Frciii li Air. «itli \'.iry., by i". Lntuur .

DiuTtiiiiiMit.i, " Erin's Lri,'iicv,'" by T. A. RawUMM
KonJoli-lt", by J. I'. I'lxiH '.
Danish Air, with Vara., br the ume
" Di Unti." with Va^., bV C. Flerel
OemuM Air> with Vwi., by J. N.'Huuuiel
Wddi Ab. with Vm , hj R. Cuaicer
mrertimtato, M <* OioviMit* €ftnlitr;* Igr P.

chrttini .....
Divertirtie nto on " C«ro Mano," by Mm I
Rutxlo on " t'hrrry Kiw,'" by T. Vl
Six Waltzpi bv J. N. tiiinitiiel .
W*lli*»by C. S<b.iiile
Marrb, with Trio, by I. UoadielM
•* La Salic d'A|H>llon'" , .

Collection 4>fM)trchrit
Airi horn " F»u»t," by J. F. nurru .vrs
Uveriure, iic^ in " II Cnwiatu." ag Duet, by T. Attirotid
«• fiio*loetto CanUer," m dllt% by Dr. Grakk

85
S6
88
86

n
n
74
74

r$
75

7.>
75
76

75
75
7«
79

7tt
76
76
78
70
79

" Should he upbraid," as ditto, bv D. Brujier .
" Triflrr, forbear," a> ditto, by the uime
Sexlrtto frum " Fij^ru," at ditto, by E. Hulmet
<• LitOe love,** Itc, aa ditto, by T. Sykes .
Six Spaoith Aira, Nntturnoa, tec, by Sig. R. C«niie«r .
Dnett, bj Or. W. Otniaby . . . . .
Duett and Gianit, by the Mae . ....
" Wiat is love?" bv J. Barnett • « . . .
" My duh-et lute," ij the same . . . . •
" Tile Con»ent Belli," by A. Mem . . . .
" I'antt tbuu fur^et tlie kilent tear*.*' bf W. H. GkBealt
" IVhat in I'raver," by T. H. I'bipp* . . . .
Grrwan Ntttiuunl Mi-liiii;r'« ].s M n 1 1 wO ndlDlfWMt .
" Jlrau, Mrau," by U. Uertboid . . . . .
Harp and P.-Fuite. anil Harp ; by Bocbaa, F. LaMottc,

and H. Iliirn ........

Airs for till- Viiilimceilo, by J. Pickard, and Pulacca, by

S. GtHibe

Flute Xln»ic, by T. Lindsay, C. NiehaiMm, R.

and Master Antunio Mioaai . . .

Pay*
70
78
76
79
79
77
77
77
77
77
77
77
77
77

wvszc.

I. AIR. " XaMrIliifta.

coaipofed eiprciily far <h* Barmmiecm, by I.
Moacmua ....... 57

II. POLONAISE, for iteP..Farti. Kkwnrn . 81
lil. CARNIVAL WALTl^ far «« P^^arta. Ln-

B8MD0RP 94

■ oaroa bt wsbbk.

IV.

t. TkaMpvtrngTUk

VI.

3. Ifail, May.' . , .

. . 70

VII.

4. fame rtjtcUd . ■

. . . . 7%

VIU.

IX.

TO OCR READERS AND CORRESPONDENTS.

A CorrespondrnI rennndj u» tliat w have not noticed n cora-
poiilioD aenl by him for Review Stiould it not be aaioiig the

•(tialMiacladadai iha ptami Nnabar, wa ani tmbia hiaa fw
ihelkleofibavatk.

WebavaaBainto«i|ifMiMr«^ltBliawto«orO>rrr«pond.'nt in
Toifcabiw. fiia|iiiiaiiaiiili iiiaMmn'MMinM aillbit iiij n 1 1 [iiiliii

Our arremtt vHh mm$ •dm Centifaadii

Mil BOBlh.

BB8ATA.

Wo. XXXVllf.
Hi M Ml, M ad Mb Iwm /in- rMl tn*-
No. XXXIX.

. Mb b <k* «j«li»I«nnli of tjw Craolua, (iai, L) m\nm, <
. llL ia tkt Mw WOT*., Bik MoiesM, frr iimmj,tgm,fmijam diwy.
n MblalkiM«,(Aw.III.) MMMMjariMibMMBaMnk

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THE

HARMONICON.

No. XL.* Apbo* 1826.

MEMOIR OF JOHN PETER PIXIS.

Thi8 nam«, though hug Mtremed ahroaii, espedallv in
fiennan^ and Francs, mn till lately been little nien-
tknwd in England, but is nnv, beoomt! favowrably Icnown
by in««ns of serpral happv miisicnl jiTtxluctions. Thp
■ppellnliiiti Ix'IdiiL"' I rjiinlly to two brothers, who. l!^tl
both hi»li)y disliiiguishni as p<Tforn«»rs on thi-ir rcsjx ctive
Ibstriimeiits, are not in tb« same repute as composers.

In this hiKh branch, the younger brother, John Petes,
the principd Hiti'Bt of this memoir, has nnnuestionably
the advantage ««er ike rider, Frederic Wiiliem. The
former «u bom tt Mankdai. in the Grand Duchy of
Badca, in Ike jav WW. tUb, Urn Mm. «be trae
itautir A wrfeMfaMd amiclM, «■< en* oT Oe beat
•gmhia ef the ace, diaeoeered in tolb his sobs tbal
Mfong indhiatlon for sraeic which ha* been gnierelly
ohserred to he very early devflojwd in thnse mn.sic^
seniuses who have allerwHrd.s arijifn to niucli eminence.
He immediad ly d.-rided npnn nnrlertaking himself the
mnsical oduralicjii of his rhildri'n. Hnvinj; been for
Rome lime the pupil of llu' famoiw ALh<- Vnglr r, tin
maKter eoiild have tx-en more adeqnale to the task ; and
his 8on.< rewarded hi.s labours by the rapid progresis they
inade at once in the practical and the tbeoretical depart-
menis of the art. The kDnwled|;e of the principles of

bring forth something; of hk 0WB
the capacity to produce if.

John Imd made himself a thorough proficient on the
Piano- forte, and acquired a considerable mastery over
the Violin and Violoncello. In a very feyr years the
two children had advantcd fo such a state of musical
accompliihmcnt, that they i-xcitcd universal admiration,
and at the age of seven and nine yeari performed for the
first time at the court of the Grand Dnke of Hesse-Darm-
aUdl, to the satiifaclioo of their soraKicn. fiiico«ni|ed
wf the applause and preaenli irUcih we jwag artists
ttcebed en tUa oeeaaiaB, tbcir pnwta datamiued upon
J wHli them ofrar Ihe continent, md •eeordinglj
from their native city in ITva ; and contineed
'nesical tour during ten years withont intermption.
In tbi^ time they had visited all the priiiripal rilie?; of
Germany, and the capitals of Pmwie, Poland, Rnsaia,and
Detimark ; « "
Vol. IV.

their repulation, as the greatest musical phetMroena of the
age, over the rest of the continent. 'Whilst reeidiDg at

Hamhiirph, ih<' (IdiT Pi\is had the good fortune to
becoinp t'lr some time the pupil of the great Violin-player
\ iiiiti, unsolicited and without remuneration, under-
looii the further tuition and cnltivation of bis great
talents*.

At the tennination of this long proCessional tear, the
father choae that best school for Grerman Bnsician%
Vienna, aa hia firtnre nsidenoa, BlaBdinK that the
theoreiicnl alafiiaa ef hia aena imM I« I
and Ibal dMf skould, at the aaw Hm
qnalirted irM all the great ncsters, tbflu Kflflf lltlnt
cenitnL After both luid studied for some time imder the
celehrated Alhrechtsberger, they quitted their parents, and
set out, on a second tour, into the interior of (jermany.

The two brothers, thus separated from their parents,
at the conclusion of tlieir ]oiirn<y piirfed also from each
other, the elder settling in FraijiK'. and the younger
retirine into the country, with the intention of devoting,
in uniiigturfoed solitude, Ibe whole of his time to study.
The fruits of this retirement were several work.i ot the
hieher order of omnposition : as, 3 Quatuors for the
Violin, &c., 8 Grand Symphooies, and aoaae Overture*
for a grand oKheatra. In 18 It Jikin Peter again joined
his perenta at Yiamnt noained with thea, exee|it
during the abort fcg«afn|!(taiar«lriBt»ltd|^ Hia lit*.

b« bft ViaiiM ftr fM% vbiM be b«

arui

to lbs

In this JHT
resided, in tha
present time

As a Piano-forte player, J. P. Pixis belongs fo that
modem Viennese school, of which Hummel is, generally,
considered as the chief, and whirh makes brilliancy of
exc>cMlion its principal, and hut t<»o frequently its soU
object. His wsrformance is indeed of the highest ordir,
and is particularly distinguished for that quality, as well
as for a manly and powlMrfnl stjia. The works upon
which his fame depends are very nnmerons, and amount
to eighty-four, or more, if single ain with vanations
daaam «o ba dicnifad bj tba larm Ojpnn, adonbt whicb
eamol aMaeb toUa baatpndMthina, for ibea»ai»aartab4]r
wortby ef tbal tiHa faa Ha aaost enlarged asaae. The

• Ffufcrie Winiara KiU nnlu with ibe mo«< rminmt living
Violin pltjcn of Oniuuny. He ii ■< pre^ai pnrvrip*! pk.iVmkii
Um Violio at ike Gnrnd OoasarvaMy of Mu«ie m Pnfw. —*

Digiiizea by Google

THE HARMONICON.

clilef of his productions have been written for the Piano-
forte, and consist of Sonatas, Rondos, Airs irith varia-
tioM, Duos, Trios, and a few pieces with orchestral
accompAniments. In is^o be ventured for the first time
to proaoce a work of some raagnillMle, the Grand Romantic
Opera " Almaxinde," which was so well received hj the
Vienna eognotetnii, that he soon after wrote another,
**Dtr ZoMtcrfrudk" (Ihe Magic ]lM»««,).«bfch was
KiMwiae Iwuuiiw d whh « vcpraiaitation in tbe Imperial
theatre, and very flatteringly leeeived. Hto principal
success, however, will probablj always b« in Piano-forte
compositions; and considering his snund knowledge of all
that appertains to (he theory uf musir, his refined taste,
and his natuml lali iit for inTention, he cannot fail in iltic
time to rank among tbe very first composers for that

OH p^ALM-snromo.

> IXImiAEM's cclohralrd nn.j nmasiBf Wod^ Ttit
CmiMUitt of JMeraturt*.]

.Tn UitaiT 6f PtAXM-niroiirG I& a port ion of the
VktKf of flie Refonnallmi; of Att gTMl nligiM re-
tofaniMii wUcb separated Ibr c*«r, tnlo two mMqad ilivi»
■ions, the great establishment of Christianity. It has
not, perhaps, been remarked, that Psalm-singinfi, or me-
trical Fsalms, degenerated inlo those scamhilous coinjxj-
sitions which, under the abusetl title of h\pn»t, «rf imw
used bv some sects t. These are evidrutiy the last dis-
orders of that system of Fsnlm-singing which inaile some
TeliffioBS persons early oppose its practice. I'^ven Stern-
hold and Hnpkiii<;, nur tirst Psalm-indilers, says honest
FoUer, " fuumi tin ir work afterwards met with some
frowns in tbe faces of great clergymen." To this day
Ihoae opinioni are not adjusted. Archbishop Seeker ob-
nr*M» Ikat tliaagh the first christians (from this pMMft
te Jam T. 19, Is any merry? let Unains Plalain
flMHk sinpn^ n constant part of their worsEfaH and the
whole congregation joined m it ; yet afiertarw tbe sing-
.ers by profession, who had been prudenlly appointed to
lead and direct them, by dei^rees i:8L'Rped the whole per*
-formance. But at the Reformation thr paiylc u crc re-
stored to their ilioHTS !" This re»ulutiunar_v style is sin-
gular: ono might infer hy the expression of the jrropl'-
Leing mtorvti to thrir Tiijltls. that a mixed asseiiiljiy
roarinj; out confused tunes, na<uil, jriittiiral, and tibiiant,
was a more orderly government of Psalmwiy than when
the excentife power was consigned to the voices of
those whom tbe archbishop had jiwtly described as having
been first prudently appointea t9 bad and ilirut them;
and wiMHV their sabseqneat piMaedings, evidently dis-
'Mfandt vntt they might haw safely conjectnred, that
^andi aa anitefaBl sufinga. vheia emry asan was to ha*e

I awst aeesssarity end in clatter and chaos X f
^^Theiaas WartODi however, regards the metrical Psalms
* " * ** as a naritanic invention, and asserts, that
; it issaid in thnr till8-|ag» that they are

• Nsir tudH, t iemt i MMuh, 8 vob. 8vo. J. Monvy, mt.

t It WMsM Iw pollatiof Ihmc pi^s willi ribaldry, obKrniljr, and
^•lasphcmjr, wm I lo ^ive (pecinms of some Ufmnt of the Mora-
vians and lb* Mctbodiila, and tome of tite alill lower wcu .

X Mt tianpcr, of Binaia^hain. hai obliKtiiKly aupplied nie with
a lanr tT«et,«a tilled " Singing of I'wlmi, vindiralrd fruin tlic ctiarge
of Novctty," u aaawer lo Dr. R■•M^U, Mr. Marlow, «c., 1688. ll

" set forth and albmcd to be sung in all chHrches," they
were never admitted by lawful authority. They were
first introduced by the Puritans, and nl'terwards cimtiuued
by connivance. As a true poetical antiquary, Tboouu
Warton condemns any modernis(^on of the venerable text
of the old Steruhold and Hopkins, which, by changing
obsolete for familiar words, oestroys the texture m the
orinnal style ; and many alanas, already too aahed and
weak, lika. a ^ain old Golbie edifice stripped of its few
signatnrMof aatiqdijt kase laH dM litlla aad abMSt «n^
strength and soppoH which Ihrf derived flwra ancient
phrases. "Such alterations, even if executerl wltli pru-
dence and judgment, only corrupt what they eiHlt-uvtmr to
explain ; and exhibit a motley iRTfornwuuc, belonging
lo no character of writing, and Hhich contains more im-
proprieties than those which it protVises lo remove."
This forcible criticism is worthy of our jx)etica] nntiriuary ;
the iame feeling was experienced by Pasquier, when
Marot, in his Rijaeemento of the Roman de la Rose, left
some of the obsolete phrases, w hile he got rid of others ;
etUe bigarrure dc langage vieux el modtme, was with hii||
writing no language at all. The same circamstance oe-
carred ahmad whmi they resolved (o retonch and aiadeni-
iae the old Bteadi netrical version of the ftalins, which
we are aheot to notice. It produced the same oontroverfy
arvd the same dissatisfaction. Tbe chnrch of Geneva
ridfipU'd nil im;iraMd vaiaioB, hat thedians of lhaaUeae

am. Mm it «M pnctisad by the
ssessisa. laWlsboftlrfiwts

was w amino

To trai f! ihf hislnrv (if inrnlern niPtrical Psalmody, we
must have rocour.se lo Haxlf, who, as a mere literary his-
torian, has accidentally preservfti it. 1 he invi'iitor was a
celebrated Prench poet ; and the invention, though
perhaps in its very origin inclining towards the abuse
to which it was afterwards carried, was unexpectedly
adopted by the austere Calvin, and introduced into the
Geneva discipline. -It is indeed strange, that while ha
was stripping religion, not aterdy of its pageantry, bat
even of its daaenl oenaMmies,that this levelling rematar
should have introduced this taste iae tinging Plnfans in op-
position to reaf/in^r Psalms. ** On a parallel principle,"
says Thomas Warton, " and if any artificial aids to de-
votion wvrii to be allow ci!, lif inielil at le.nst liux- ri-lained
the use of pictures in tljo churi h. " Hut it detm'ed
llidt stiilufs ^lioiilii be luutiliili'ii (jf " llii ir liiir prrj|ior-
tioij.s," and paintt:(l glass be d.ishcd into pit-ccs, wliile the
congregation wen- lo sin^- ' ( aUm i-uu^hi lor proselytes'
among " the rahhlc of a republic, who can have no reliah
for the more elegant externals." But to have made men
sing in concert, in the streets, or at their wrrk, and meny
or sad, on all occasions to tickle the ear »ith rhymes aad
touch tbe heart with enotioo, was betraying uo deficitat
knowledge of human nature.

it seems, however, that tUs fnyeet was adopted ecci-
dcntly, and was certidnally promoted by the fine natural
genius of Clement Marot, the favoun d bard of I'rancis the
rirst, that " Prince of Pods, and il at Poet of Princes,"
as he was quaintly but expressively dijjmlicd l)v his con-
tcniiKirunc'S. Marut is !>till an iniinilublL- and true |Kiel,
for he has written in a manner of his own with such
marked felicity, that he hai> left his name lo a style of
poetry called Marotit/ue. The original La Fontaine is bis
imitator. Marot delighted in the very forms of poetry,
a« well as its subject-s and its manner. lli<i life, ludeelt
took more shapes, and indulged in more poetical liceaacsi
than avan hit poetry: licentioai in BHHmls; often in
priMo, «r al eowti ar in iha ana/, or « fiiplii% ha hat

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hia Tviegated existence. He was indeed very far from
being deToot, when his friend the l<!arned Vstablc, ihe
Hebrew professor, probahlv to reclaim a pfrpplual sinner
ffHui prolciinr rhimL"i, as Marot was suspccU^d tit" hereSY»
coilIcsmi.ii mill m uzre days beinfi; his abhorrence! siig-
gC3te<l liie new |)rllJ^?<:t of translating the Psalms into
French vene, aiirl nu doubt assisted the bard ; for they are
said to be " traduitz en rithme Fran^ais telon la veriti
Hebraique." The famous Theodore Ben was also his
ftiend and prompter, and alterwards his continnator.
lluot publisned nhf^tiio Fsalms, written in a variety of
■MUHH,irith dwauMC^kebwIdmehMtaUMls and
i—iiiMB B»Mfacitdtolh»ftfaK«riman,«on|MrinK
Ua wilhtberimdHdRew, aMlwkha VnmA ompU-

Mm la itmm mw pwiplw Hi
Dim M <hwO>a> p«as«-Js, am

Hp lnsiiiMteithrtiiilihTiiiianliebtdt«Mif«d«Miat-

ance.

p -ir ]i )» divins rsprils

unt toua tojr Uebiit-u langagr Sfirifi

Nms Mat Jauia Its PscaMsw «■ laaiiM

Chin> at an was de h forme picmiete.'*

This royal dedication is more solemn than aiinl; yet
Marot, who was never grave but in prison, soon recovered
ftom this dedication to the king, for on turning the leaf
we find another, Ami Dames de France F' Warton
wm of Marat, that **I1* seama anxiooa to deprecate the
nulaiy wUeh ibe new tana afliia versification waa Iflialy
la iMartaad laattlNunaBMl lo And an apology for tnrafng
aint." Hia naliariaMaifale, however, terminate in a
highlv poetical fancy. When will the golden age be re*
Maraa, exclaims thi.s lady's Psalmist,

" Quanil n'anrona ptuii ttr rnuri ne lieu

I l a clianviirn dp c<- pvlil l>icu "

A tjui Ira ji«iDtres fool dc> aiairi >

O *0M dantca el <icia«iaellrs

Qae Dim bit pour ratrra loo tpmple

Kt lail*a, aoua mauvaia eiempie

Retcntir et cbambrva ei aalra,

Ue clHuuooa moBitainv* on aaka," 4c.

Knowing, coBtiiiaet tbe poet, that songi tliat are lilciit
can aaftr pleaia von, hen are aone sompoaed
\n lave itself; all facta b bra, tart iMffa than mortal !

Bng ibesc at all times.

Et le* coovectir et marr

Bl ros dcnfls Mr Irs eaplMttM

VdMrdirc »aintri (-li.intcinf^T*.

Marot tln'ii liri'uks forth witli that eiilhusinsm, which
1 at fir^t coiiTovfd to the sidlcn fnncv of the austere

[via the project be so succesfully adopted, and whose
■caoa we tra atill wilaearinB.

O bira heareox qui rsir _
Flenrir le temp*, que I'oa
Ix> laboiirt'ui i ut cliarme
\je chartctier parmy 1« roe,
E« rartiaao ea aa boutique
Avaa|iiw«aFaa*i'iisoa ri
En sen lahanr m aoolager ;
IleaiMS q«i orn )• h^gtt
El la bei)(«ra bob MMMH
Pairrquf rnrlvers et ealaBKa
Aprfi < I hnn.rnt la baulpiir
Da aatnl oom dc Icura C'reatew.

Coaanenccs, daaiea
t* simI* 4oii ! •vaBMS t
lachaaiiMtfMM
OatesMioiai

IWm happT tlMT. wHo May bshoU,

And liateo in thai •» of gold !

Aa by the plough tne labouieriUq^,

And carmen mid the public nya, ''

And Imdearoan in hia ahop ahall awell

Tbeit vain ia Paaln or Utaticke, >

Ftms weodssbaJleaMeaiMataratiaial .

Shepherd aad shepherdeaa shall vie
In niani a lender Paalnody ;

And the Creator*! name prolosff . i
A* rock and aircom return their ao|gt

Bc^gin then, ladie* (air ! bcgia
The an icaew'd that kaova ao da !
Aa<l«iih light knit, that wants BO winct
8iBp ! from thia holt >nn;-book, aiog • f

This " holy song-book" for the harpsichord or the voice
was a ^av novaltv, and no book if as evt'r more eagerly
received all cfassea than Marot's " Psalms." In tb«
fer> oiir of that day, they sold faster than the printers conid
lake them olf their preaeea: bntastbeywerauBdenlaodIo

beson^jr, and yet were not acoompanied bj nuiaiei every
one set tbem to favoarHa lanai, eoauBooly tboM ofnapalBr

ballads. Each of the royal famfly, ano every noohnnaii.

chi>s<' a psalm or a sonp, v, Inch expressed hiso\\npcr-
suiial rfcliti^'S. udaplcd to his own tunc. The Danpliin,
nflLTuard.s Ilenrv II., a prrat hunter, «licn he vent to
the chase was binwini; Aum qn'on \it U cnj' bruyre,
" IJke as the hart di'sireth llio HattT-brooks." Tlierc is
a curious portrait of the mistress uf Ilcnry, the famous
Diane de Foietiers, recently published, on ^vllich is ia-
scribed this venti^tht Ptalm. On a portrait which cx«
hibits Diane in an attitude rather nnsuilable to so solemn
aa application, no reason could be found to account for ttui
disconlauce; perhaps the painter, or the lady hendf^
chose to adopt the favourite Psalm of ber foyal kTCr*'
proudly to designate the object of bar lovw, betidet ifg
double allubion to her name. Diane, bowever, in the
Grst stage nf llieir mutual attachment, took Dufaud dt
ma pensi'r, vr '■ IVoni the depth «f my beart." Tha
Queen's favourite was.

M w m UlM peu,e
it9 ivjvsMnip ew

tirt,
tan ire,

tbat it, Rebuke ne not In thy indignation," wbldb Aa
sung to a fashionable jig. .Antony, king of Navarre, sung,
Htxrnye moy prens la queielte, or " Stand up, O Lord, to
rCT'eiigc my (juarrcl," to the air of a (iancc (,f I'oilout.
Wtt may ctinccive the aniour Milli nlndi ihi^i iiovelty
was rtiei\ed, lur 1 rancis sent to Clmrlcs the 1 itth
Marot i tulletlion, >vlio both by pronii&es and presents en-
couraged the French bard to proceed with his version, and
entreating Marot to send him as soun as possible Cgrtfittm
mini Oomino quoniam tontis, because it was hisfaMnrila.
Psalm ; and tbe Spanish as well as French uumpaeen .
hastened to set tbe Pkalms of Marot ta maiie. Tbn
laahion lasted, for Uanqr the Srand aat ana to aa air of
MtavB composing. Catharine thMcdida had ber SMm,
and it acema that every ane at eoart adoflad aama parti-

• la ibe curioas tiBelahMdhrnfcmd to, tbe foOwwIaK oaoiaiiM
is miMikjible ; tlie iceae, the Buicy at Msaor picMied lo bin, iiad
muitHUu atturrfd. St. Jerome in bls sMeMeMlll ^ialle lo Mar-
cellua, thus deaeribea it : "In clirlniaa vBhc^a liltle else ia to be

)i< ar() hn( I'Kilmj ; for wliirh war auevrr you (urn yonr«c!f, fillirr
v.Ti !.i.>i ihi- l'iunjl.iii;iri .Tl 111" plr.uEh jinj.^i,- yy.'.-'i''''u'n'.t. Ihe
ui:ury Brewer lerreahiug liimwlf willi a faim, ut the V uie-<tieaaet
cbaalinsCMh somewhat of D^tift."
t As wailoa baa nattW dnwa ffoai the Mue aaam, I
MsewaweiJs wlwas M rleaeM. II is aat sair to t

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TmrnmaaucmL:

I fhynl m

I guitan, SfC. Eiagliig Psalms in tme was then
! of tbe chief ingredients tn the happiness of social life.

TTie univefMul rfccptinn of Marot s Tsiilnis ir.ili:f p.i
Th(!o<lore Bcza to cnticlutie tiie ctilleclion, ami ten llifiiisariti
copies were im tru-diulel y dispersed. But Iticse \mi\ ihe
advantage of hcino; set to music, for we arc told, they
■were " admirably fiiletl to itie viuiiii aod other musical in-
struments.'' And wlw WAS (h« man itbo had thus adroitly
talien bold of the public feelinK to gire it this strong di-
rection 7 It was the solitarj TbnaM(ar|iu, the ascetic
CUvin, who, from the depth of hi! dOMtat QcBWa, bad
•BgMged the finest musical co m pw a w, wbn ««fe^ IM» doabt,
iranMd hy tbe asal of prapagaling his fiiilb. to btm IhMe
Aaole and hHntiAil ain to anbt tbs F'idai-«inmn.
Aillil tMi W9» not dfaemraied, and Catbolics, at well as
Bt^aenolti WWe solacing themselves on nH occasions
«Hb this new nnsic. Hut when Calvin ap|Kjiiite<l theic
Vtelflu, as Eft tu iiiLsir, In be sung at his meetings, and
Marot's furnn'il an H|ippnilix to tlit! Catechism of (ieneva,
this put an rnd tn all I's.ilin-slniiiH;; fi>r the poor Catholics !
Marol himself was forced tu liy to drncva from the ful-
minationsof the Sorhonnc, and Psnlm-singing became an
Open declaration of what tlie 1 rencli called " Lutheranism,"
when it became with the reformed a rt-nular part of their
nligiotia discipline. The Cardinal of limine sncoeeded
in peisnading the lovely palronoN of the'* holy Song-

m pe

kak," lUaiMrda Fttetlen, wboat lint «aiaFMdm-a%e
aad a« banlwil icador of the Bible, to disoountenatxie
this new fashion. He began by finding fault with the
Psalms of David, and revived tlie amatory elegances of
Horace: at lliat iui:rm:iit ewn l!]e remliii^' c,f tin- Bible
Was symptomalic- nf Luilii'ranism ; T)iaiiu, who hail given
MtAy to these niivi hit s, "uulil Iwim u I reiith Bihh", because
the Queen, Cutlmrine de Mtilit is, liad one, and the Car-
dinal finding a bible on her lublr, immediutely crossed
himself, beat his breast, and otLerwiso bo well acted his
part, that " baffalg thnnrn the Bible down and c<jii-
demned it, he raMOBtiated with tbe iair penitent* that
it was a khid of reading Ml ada|iled ftr her an, cro-
taining daagenNM nattan : if ibe was uneasy in her adnd
iha aeiil hear two maasei intlead of one, and rM eon-
teat with her Paler>na6ter8 and her Primer, which were
net Mily devotional, hut ontamentcd with a variety of
elegant forms from the nioMt cxciuisid' ix-nt ils of I'tnnce."
Soch is the story drawn I'rom a curious letter, «i i(len by
ftHufuenot, and a former friend of Caihariiio de Medicis,
and by which we may infer that Ihe reformed religion
was making conKiderable progress in the French court, —
had tbe Cardinal of Li^raine not interfered by persuad-
ing tbe metres*, and she tbe king, and the king his
|guu,.at once to give up Faaha-mnging and reading tbe

t^Thii iaftetieai ffSM^af FMneabiri^" aa Warton
dMi rib eih,nndertte CalfNiirtle preadien had rapidly
ampagatcd itielf tlweif h Germany as well as France.
It waa admirably calculated to kindle the flame of Fana-
ticism, and frequently nerved as the lruni]>ei li> rebellion.
These eiier;;elifc hymns of (Jeneva exf iir^l ai;<i supjjorti'd
a variety of popular insurrections in ilie nui^t llimnsliin^f
cities of the l ow Countries, and, what onr jjotlic iil auU-
Uuavy could never forgive, " lomented tbe I'ury wliich ile-
Mcwl many of the most beautiful and venerable churches
e( Flanders."

Al langtb it leached oar island at that critical moment
wiiaa^it&d iniamlinl the Biftwaliiiit and hew Ha

perbapa, in tbe spieadaar of its snoeoaiL Stovhsld, aat
enthusiast for tbe reformation, was rnwih ofl^«»ded, my0

Warton, at the lascivious ballads which prfvaiiei:l nmonff
tbe courtiers, and with a landable design to check tbeav
indecencies, be undertook to l>e our Marat — witboul hiv
: " thinking thereby," says our cynical literary
hiKtiirmn, Antony ood, " that the courtiers would sing
them instead of their sonnets, but dttl nol, only some fevr
excepted." Tbey were practised by tbe puritans to the
reian of Elizabetn ; for fihakiposi r notices tb« pnritaa
of his day " singing Psahaa Id homppes *," and mare
perlienlarly daring ifaa paMaitaMto of Croanndl^ea thai

^gTJSSi one of them raid " weia tee goSiftr tiSdwff
Pnime were now sung at lord MaTors* dinnere tmk

city feasts ; soldiers sang them on their march und nt
parade ; and few houses, which had windows ironiing the
streel-j, but had their evening psalms ; for a story Iia.s
come down to us, to record that the hypocritical brother-
hood did BOl alu^ aiM to ahig mdam lhagr me heard I

AOoafDA TO TU MBMOOt OF WBBOU

Stm,

Ih Ae MUpt HAMMnc«».

Win yon allow ne to add to the ofMehld,

a short analysis of the magnificent Retfuiem com]M>sed in
hononrnf him by Chenibini, and performed in Ibecbnrcb
<li /'■ ins-I'rrri at Pariii, on Ihe iSth of Oetober,

to roninicmnr/ilr his illustrious friend.

This Rr

wus list'_iiL(l lii \\ ']\h more than common

interest, and wm pronounced by nil the amateurs ].rcsent
to be entirely wort ny of Ihe inlt resiioj; occasion fur which
it was produced. I shall nut easily forget the impres-
sion made on my mind by the opening movement, — Rf
yvo m efamom dona £i, Dontmet (Eternal rest grant to
iiim, O Lnrdl)— the harmonies therein employed am
of the melt teBdiii% and solemn Uad. What a pktare
waa awakened in my imagination at the hvat tt tbe
Tvba mitvm, in the Hymn Diet Jni, and of which it Ir
suflicicnt to say, that it made me remember, wilhoat
regretting the ub^enc•e, the sfnin- pifissii[;e as given by
!\lo-/arf. vA'liat accents of grief inleriniii;;k(i vvilb hope,
wire Iirard in the Pic and ihe !/i;it.>' Jhi.' The

sivh'ot the whole conipo'iition is ailniirahle ; indeed, it
could only have been inspirtd by the most lively and
tender emotions, since the feeling it breathes was re-
8]ionded to If CNTj heart.

The solemn ceremonial was terminated by tbe De
projundis of Gluck, in wbidi the caaiposer has so jndict-
ou&ly retained tbeafannleeidrjeeteoMeaaledtothis palm
in the plain dwnttt orthe cmrch. All he haa dona ia to
add to it a rich harmony, and an accompaniment in his
usual style of deep and impressive grandeur, relying in

• Mr frien< Mf. Peoea ha^asi, rtwS ihlsaBidss to a eemsMn

practice ml IllSt timn SmWif dMPariUlu ot burUtqvhig Oir plam
rhnnl of iKe Vt^btB, hf aA^pSinf voHnr «dH ludicrous muiic U>

pijliiii and pioua conipo»ition», Jitntl. of Shoktprarf, I.

Air, Ut.iln; iliJij nol ifCOlicct lu» JiviU.urlly, Mi liliu ilifli-l!.

May vre nol comccturc lba( ttie inlentioo «M tlx Mine which m-
ducfd StetnhaU to vmsilir •!» P«ta%lohasangiMSSMa oflasci-
viout ballads; aad ihaaiiMt popakr MDSo aaaa alMMwis taW

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HARMOnriCOIf.

oHier respeeti tif 4b* repetition of lliii smpic muA
path<>tic motrro. T1i« mention of this OHQipHMaa wU>
to my memory an inler«titiif auMvi')!*.

At the funeral ccrernoTiies of Cretry, the same De
mnfvauiit of Gluck ww execated. MpHuI was present ;
St liateaed to the repetition of this solemn strain with
interest, the tear tlartod in hi« eye, he wu
I any longer to coniain bi« eaolioR, •ndjpraMing
Ml iirigbb«ur, be «bwMic4; ** Watn, in

, me« riiey tlnv flfimtf* l^iMkn in

'wkking choice of it for nis Rttpdem^ Gleck lal tcoi
faveriKd by tbe Mine feeliof. Youn, fte.

Fatoiu.

THE BOYAL A CAPB MY OF MUfiiC AMD
HOIfHSm BOCHSA.

Iv ew l«t VMber we

we gave a
iMuf^em

m a oofi{]r of the
hMfi

■t the Aeedemy, untifbe bad doanl liaMlf ffoa the

** strdng cbarfes a|i;aimt his cbaneler" wMeh had *' re-
•anlly «p[iear«id in the public prints." The par«!;raph
•lio ■tal«?(i, thdt the Coromitle*; hail felt it lo be their
duty to require of i\lonsi> iir K. ivlial inirasurfs lie liail
adopted for the purpose of rufuling such charges, nnd
that he had declared hit inteiUimi immedtalMy to iisUlutr
Ugai prvctedtHgi against the authors of tbe charges in
^■MMH." Of tbis eoane we fally approved, and placin^^
1iy eoDideaoe in the individual nsftectabilitjr of tbe
'MaibeTS of tbe Comnittee. ezpnSKd a hnft Ifetl fall
■ri «afk jMlne wnU be diM to all pertiec

lB«MMM«Mklh»f«llie at lane, we of oaana «x-
fled thait MoMsiaor Beeksa «*eU be left lo the purifi-
calka ef hk character by tbe tbnataaed legal process,
SmI hj a eomplete refutation of the guiltiness impuie<) to
Mmt or, that the Committee of the Academy, following;
np their first mea-sureK, would finall> i'X|)cl him from
tn«rir halls as unfit and unworthy to be c<jtiiie< tefl with
an esiablishmeDt that had undertaken the " mohai. and
aSLiGious indrucUm* " of the youth of both &«xe)u

Under tbis impression, we iefraine<l from entering into
the merits of the case as it then stood, «nd withdrew froa
Ibe hands of oar printer an enei^tic appeal to a noble
ioid conneded with the aoadeeiy. wUeb bad beaa lar-

We oomInM tkal the n*.
a oaMre consider-
I that nothing but a
lefotation of every diarge made against the
individual, amM indecc the Cooiinittee to diiKuss his
fitness for a siluatiiin in which the Nveifareof the children,
the hopeii of their parents, an<l tbe peace of society were
iUke 1 n vrij V p({

Till <)|)iiiii n was not only entertained by the parents
and t'lHirtli.ins nt the students ihriiiseives, but was
promptly an<i der isively acted on by (hat disiiiguisbed
Udy who now ad irns tbe private society into which
she has lelircd, as she once did the stage which was

alahed bv a oorretpondent. We
fambw had bean wirired wamm
allMi ef dl the ftnli ef «• caaa.

ennobled hf tm grains and dignified eaample.
Bal h afMi* lhaa ifaa Mtl wi n i ma arMMaw, and
«M Ibaf liiiiLu tt Ml mm Mik ia. fl«ai
caaae or otbe^ at vranalaadeiaad, superior to the power

• or 01
af principle at

dntuittg one 4ingU iala of the chaTgej maJj u^amW fan.
Vuiiout taking one UngJe thp toward.; thr i gal Tt trihuiion
to which the Committee of tbe Acaitemy ( eclare hin ta
stand pledged — this accuse<l and suspendi'd servant-
obtains and publishes a written character from the
secretary of the academy, the tendency of which is la
insinuate that be is a prodigieoaly clever, a very p«rq»
and, consequently, a most ill oaed man.

Tbii niwular document was quietly imbedded in Iba
colnmM ar tha Morning Pod ef Ibe SStb of
«• eHiaet it for Ibe adiiflaUan af aw I

TO N. C. lOCHSA, BSQ.

R^ynl ictdrmy nf Mutir, Tmlmim-i^rrfl , H aninrr^ipiare,
Fefrrunry ISVfi.

Sir,— I charir('l Acadpniv of Music, to transmit to ymi the rompini ing
lestimuniaU of your lerrices up to tlic pre*rnt pfHud in that
Tnattllltlsfc Bj Order of the Coniaitttee.

H. WATTS. Secretary.

■■ la the year \Stt, a nnmber of noblemen and geetlemse,
aetaated br tke desire uf enabling Ibe youth of this e<Mintrr dmt-
Mnad fur the p rof tw l i i n uf mutic, to obtain an education in tii»t
Scienee upon teran which «hi>uld be within their rrai li, and tm
■ niiM-ft eitemirr ■<:Ble than bithrrtu had been alfurdcd in lliig
rmintrv, drtermined to estjihlikh, hj the lubacription of c<miit-
iliTTible «uin» lit money, an Arndciny for Muair. In the cxecu«
timi iifthis |>r.ijert thry were met br diftitultici of riirinu!, sorts,
bn( r]>'iir rrcKlrr than the wnnt ol infiirm.Htiun At lo ilie ruifls
and rri^ulaliuni necenaarr tu adopt for the f(ovrrnriioat uf
an lastiMtiaa. Tin BngMib pruiiet»iuntd g^utlenien,
wilUngljr lent tfesir aid Iv farward the pruiMsed plan,
unscquafarted with these dfiaiilk m eeldfclbbawa t vt lbs sort
- ' ■ - ■ ■dTUndw-

haring ea ls f d ia Englaad. V
Huchsa, then lbs I Sep r ie t or aad MaaaMr
Oratmioa, aad a person empluyod in tbs I
City Omcetts, and in the musical parties in ti»ia metnipali^
caawUpnnvd with all the iofuruiatkin which a kauwiedge ut ifce
rystem persecd in the Frem h Aeadeiay. and tbs nalMi aMi>
ties which disthifui»hed hirn, enabled hin In afedL TMa la-
fonnation, eoapled with the nssidiiity and peneveranee with
wlix li hi' i;r«tuitoHiilr applicii hiiiiM'U (o .isnkt in mioideting the
arrniisemrotji fur the Aoidpuiy, cniihlH the per«un< who bad
undertaken to tonn t)Mil In'^tiliilion, to ratiiblish it in tlie eariy
month* of lli^a, upon a ■vstera, to tbe esccUence of which Ifce
•urceH that i.ti Ht'^mled It dailaf tbe iboit ptriud flflBi laiM*

core will hrti «f*id>.

" Mr. Birlisa continued, after tbe Academy was open, still to
devote hinMcIf, al a serious I<mis to his own pnifevnuiial «a-
l B g e i nl% to Iba iiatnietisa of the pnpUs, aad by Im eserti«as
in tbs haailiilhM to bring thim fimraid aad lo place Ibom tm
the Ibuting which tbe/ WHr are faaanlljr alhiMd to bnM ta Iba
nwto of die pndtosliia. tbne icnl^a Mr. Isnhm Ih
received in the three years and a haK daiiaf irbirh twriud be
has devoted several baiurs a day ta Ibi Asedimy, but tlirea aM* '
•eats which amoanted to Sd^W.. ■ mmi aut eqaal to what Nr.
Buehsa had tubwrrihed tu the i.iwU uf tbe Institution, ia muamr
and imtruments. He bas brru k-Ulmih in tbe yreatctt dagSBi^
itiid fiin rmidai't, allhoac^'h tike that of eirery atlMr person asa-
plf)vr-il in the Ai Ndriny. cvnstKntly under ubservatiun duriag
the uliiilf [leriod, Unt l>een "ithnot blaine or reproath. He is
the priiu ipal barp ina«lrr in Ihr ,^rnde^ly. and the direitur of
the practire by whieh it becomen his duty Ui itrrndc in tke
orrhentra whenever the principnl. Dr. ( roll h, i> ml pre»i'nt.
This duly ban been rxeruted br IVlr. Itoi hs.i with unremiiuag
iral and attention, and lite rr>ultii wliii h hdsr tuilowr>l Irout it
are in pniof of hi-. [iriili (.<iiioJii talents and nequireeMlS.

Rogut Jemdemj/ o/Mutie, fei. I*, ISU."

Bt iriiat atfanfc tnflacMca, ** wbai aMsle, an

spell,** Ihi; document was obtained, we will iitrtetopto
inquire i neitber is it neceasa/jr to diKan nitb the Coat-

Digitized by Google

THB^lTAIIMONICXyif.

mittee of Management the consistency of one day sus-
pending a man from his duties, hp-inuje he is accused
fb being morally di5qualifie<l for his office, and imme-
difttcly ttftcrwards laudinz him to the skies as the
wAy competent person for the station he has filled. Be-
fore we offer any n^marks of oar own upon the question,
«« will mnia from the RefrttnUatiiie of thft 9lh M«rch,
* liller vUch tifMnil b npfy to the oOdil doeuMot.

Yn an of CMTM aware fhut torn rnj gn\e chnrgei
Isfclateljr b«M bnMftit ajrainittlwaionlclMneteror Mor<i.
Bffflwn. who liM haMtofuie held a p r oai — t liliiatkHi in the

Sojral Aca<1emy of Miuie. wher« jrounr pcnoat of both tcxcs
tn ybced fur the MQuireinent of a profeiaional cducatiun. Su
■cirimUi indeed, are tliR iniputntions a^aintt this niiin, thsit the
Coamtttce of Management, in th« whole*oine exercise uf their
powers, as ^iiartlians of the iiior^ils uf the rliilihon c iiriUiled to
their charge, huvc dfemt'd it rii'<-o*>;iry |nit]In l\ !.> imniMiii.-e
their intcnticin of Hii<[n'rHlii)!r hi:ii fnnii ijiitii's .it the Ar,i-
demr, until he shall li.iw vindit atcd himitelf, in a court ofjuslirp,
from the heuvv rluiri^'i-s »n uiiciiuinK-allv brought apairmt liiin.
1 (fill mi^ lll(r*lili' i'< i.irt;fly ■:[r>r. yrir lulllllltH ;>■!. tii LTlfLT

into » di^cuuiun ot the ioijiutatiouii alluded tu, nur indeed would
1 have traablcd Mu at all upon the subject, had the matter been
■Uomd to find fit wa/ to a Jury of uur couDlry, unialnanecd bv
the farther intarbramMorcithar thsMemm or adviicat«a of the

|ar^r^^iiMtkni. But^

Urn faiylmSl

u a Uboured, bat indirect,
' Mons. Bochsa (under cover of an expIamliM of the
" 1 led to his, appointment) h.-w been put ftttik In »
T, signed bjr & Mr. Henry Watts, the secretary of
iMioshfwlHaawminiittcc this Mims. D<H:hM has
been, on no slight {rroundi, suspended from the exercise uf bis
profeisiu'nal duties, there surely can be no reason why the
validity uf this deffnoe should not be inquired into, and its niis-
leprcscntafions, if »u<li llif) laii he |iriivfd t.i \><\ f\[)<,6ed.

The ddcncn cummemcs by sayincf, iu mhsiuncc, that a
(lire»:tor tur the Academy bein|; reqiiirpil, mi lvi;;hi-liuian could
be found loiiipetent to fill that »iiiiatiiin, ;ind thai, therefore,
MonB. Buchsa, the then " Proprietor and Dii cctur nt the Oratorios
at t'4ivent-(f»r»len and Drury-ianc tlieatrci," W At n'lei ted and
appointed as the only fit man for the ofRce. The first part of
this assertion I pronounce tu be a most uoiust and iodelensibie
attack «■ tha wmIo muaiad profoiaioD, in whieb nirlit hare been
IboBd men of taleot, enwfy, education, and unsullied character.
The mitdom of the choiea^ and JUneit of the person choaen, will
be best measured by a refercnre to the facts of the eaae, namely,
Oat the Oratorios, to tlie exclusive monopuly of which, at both
oar patent theatres, this fuf^^itire foreigner so <istenlatiuu»ly and
ao impudently aspired, turned outan utter failure in hishaoils,—
that very simn after their termination he became a banlcrupt,—
and that of the enormous dcht» inriirrcd by this 8|)eciilation, and
other prorcHscs lii« creditors have only received about nixpcncc
in tlie fuMKid, to ivliicU thert is no chance of a single farlliiu^
over l)i?ltij .-uMim].

It is next iiaid thiit Miin;. wa« further qualified by \m

prufesuonal ex|H.'riciii c .il thi' I'liillKinuonir, the Ai;i itcur. ;ini|
other C^incerta. 'I he fact in. (and I a«»ert il uitliiu re.»eli id'
easy contradiction if I mistake the matter,) that he had nothing
whatever to do with the Philharmonic ur the Amateur Ciincerts,
— 4hal ha never acted ai a ^redor. pcrfiirmart or fmelionBry of
wy lMardescripti<m at aiHwr of Ihw, ood fhat the only
eomenon which he eaa eh^ai with tham. ii franOe drcomstance
oraaaMtUBf eoapotad bjr Mm havinr been pUyed at each place
fbrona ligll^ to the great dis;,n>st uf all the reflecting members

The defence next says that Muns. B«ichsa attended the Institu-
tion for Biiine time withuut remuneration, and afterwards rrri-ivcd
but which wa« le*s than the amount of his previous dona-

tionit to the Academy, in money and inttruiucnts. On this point,
let ine atk the wurthv secretary. Whose money doe* a inati i;ivi>
away when he is on the u rt;'' of a bankruptcy, under which liis
cmlitura recover but tixpence in the pound? and whether the

out of the
, iwentadat
,tolfeiaaid AoTal

bountiful dosMT ofcr paid fltf one siarle
many which ho ii ao
tiMt periodi aad n
Aeadcny ?

If. Sir, jou agree with ma, Ait the Ibicfoiof

are deserving of rnnsideratiun, foo will, perhaps, pre them fab
•ertion ; and should the Secretarjr-Adroeate attempt to repnr
thedaoMce whi^h he has done to the cause of his client by a
battardaience of him, I shall be ready either to acknowledge
myself rnnrinced br his statement and argumentsi if they has*
any validity, or to deny the one and controvert the other, if net
supported br ature truth and soundness than have hitherto [
ahownbimicausc.

I am, Sir, jour reiy obedient Serraat,

To the opinions and inferences of the writer of thin
letter, as far as they ro, we entirely subiicribe, merely
remarking, on the subject of the baokniptcy, that the
dividend upon Mr. Bochsa's estate was not sij'pence, but
f irnpence in the pound, for such dtltlt as were proved.
Had tiM whale of Uw orediten ihooriit it worth while to
npp«ar beTore the GomniMtaiiien ef Buikni|it«, the 4i«i> ,
deiid mieht have been about aa many farthinfa aa it wee'
ii<!>iic(> ; but many, among whom were Mif s Stepbena ead
Sir. Hrahani, declined the honour of such appearaaoe,
and therefore the actital dividend was really as high aa
scvenp-nce.

Jn pursuing this suhject somewhat further than the
writer of the fort'goin'.; letter has done, we must of cjurse
take Mr. Watt.s's " testimonials of Monsieur lioclisa'a
services" as the act of the Committee, by whom he WM
" charged to trannnit them" to that person. Tbia we
do with considerable reluctance, because we feel lh«t the
result of the diieimion nwat be to put aeveral ooUenaB
and gentlcMMn, tovhoB iadifidaally w« ere prediapoaed
to |>ay the moat fiipectfwl deference, into what tM
believe, called in nflnery language, a false posilioB.

in the first place, it mnst be remembered that the
acadernv was formed for the education Enqlish artists
and the eiiltivalion of native talent. What ir sunnouut-
nble didicnlties its loiiiiderN could have met with in ob-
tainiii^V eiiinprif^ni l^iiirlishmeti to manage and instruct •
LunilriHl buys and eirls, upon Enelish principles, and
with reference to their langnnge, habits, and nationat
feelings, il may be rery diiiictilt to define. Hud the law
allowed our country to be dishonored by an establishment
for the fflaitu/iic/wrv of Busiciana upon Italian principles,
we CM readily nndentand that no laiglisfaauui would nara
ottidied himself thento, and that ila diaineeliil dutiaa
niiiM Mnsequently bt«e devolved apia Mme wMlehed
outcast, lind the results of '^thesystem pursued in the
French Arademy" been of 90 brilliant and dazzling a
iiiiiure :ls to render it desirable for an En^li.sh national
est)ibli>hiiu'iit to pursue its s\s(em. t!r>es the Couimillee
mean to say that any ilitlifulty would have been expe-
rienec<l in procuring irom the government of the Parisian
cslablisljment the most full and ampledctails of everything
connected with its formation and interior economy ? On the
contrary, wonid not our GdUe neighbouni have been loo
happy at leceiving from M a new tribtiie to their boasted
superiority in the arte t Tbey mdd, doabtless, bare
exulted in the piefinwm too cenerally giwa in this
country to foreign over native laleat. Bat ivnat hava «•
(gained bv the alternative adopted f 'Without slopping to
inquire whether the system ol the French academy was or
w as not fit or desirable for adoption in this country, « e in-
sist that no impediment whatever would have been eucoun*

Digitized by Google

THK HARMONICON.

tered iik obWdng iU fail and ample derelopanrnt, arid
thai, iMnbre, of « the diflBcalliat of nriow Mrta" br
wbieh the CMamitlee Kate theauahM to •* km been
mt in the aHMMikio of their M^'' Ite •* vaal of in-
Hion M lo the rahs ■nd mArijoiii BMiMaty to
ftr dn covemment of moE an fanlilolioii," was
. IMCMWlfir, among them.
Kwtf M tO loe Tftnw o/' /Ae individual choseti. The
*• tettimotiul" already qimtetl docs nnl, v.itli all Us
glnnv.if parlialily, iiiunf Muii.sinur Boclisa as u incmbiT of
the I rench Academy, whose ".systoin" was to be adoptwl;
does not refer 1) turn as one of iis successful professors,
and does nol establish for him the least connexion there-
with*. No; hi^ " KNOWLEDGE of the (yilMi purnied
tn Uw French Aeadtmf" ww a aufficient naaoQ with
the Committee of MaiiayMllI why the talmta, the
aoqnirementa, the ORA&ACtSB. and the fMeuiiaM
of the whole body ef Bb^iiih Ph i ft wn ?ho«ld be
pto»ed orer in contnmdj; and a fbgilive foiwgner,—
who, to say the very leatltS him, had fled from his native
MdnoderaocaiatMnu which he might have refuted, had
M ■Ma aMe aotodo, before the tribunals of his countrv, —
■•Fp**! *» tbe head of the English Academy of Miiiiif:,
Wfaeh boasted of bavin,? the King forils patron, and the
nobility for its supjxjrters !

Of Monsieur llochsa's exploits in the Oratorio and
coiirert way, w,- huve iiol)iinsr to add to the expose Con -
taiiH-d i„ ilu letter of Justus; bot it might have been
worth the while of the Committee to consider of the
mimii, fts it evidently is the duty of the assignees to in-
quire into the Uyai, ria;ht exercised in giving away pro-
perty of any deMriptkm. at tha vafy critical penod of
Jus .(Wit wlwB fha dooatfani to Hi Ra^ indemy
tooltjpiaee.

^We come aaw to what we have reserred as the last,

"JJJfb **M not the least, part of our disagreement
wJUi the Conmittee as to the course pursued towunls this
■an. " Strong charges. " ihey sav, " have been made
^pfni his character, and they have reouireil him to
•(ye \vhn( measures li« had adopted for the purpose of
iWutiMj; such charges." He " declaretl his intention to
insddite Ipgnl proceedings against the author of those
charges. ' and they suspend his attendance at the
demy till the result of tfaoms praceedingf ha koawil. He
does NOT deny the charges ; he does «ov, with hgoaat
indignation, declaia bk nadineu to mtel aad afarwlnlai
with ceofuiion Am as cuwri ; he does nvr cant iaqnirr
fate his oonhKt. and nfcr to hid part Ufl fiir Uie eri-
t!^-!L~f._'°'*^*J'' ** ^ inatitnting

!3Sr PSIk •*>d *bat of

Mllwhich he does not deny, and the Committee very
mMMtaredly vrait the result of the proceed in jr. But
llaWSiear Mochsa <l,3es V kc,^, /(( ( word ; lie ilr.i-s Hot
tailitnte the threat, ued proceeding!!— and in the very
teeth of this violated pi.ylge. the Committee suffer their
8<!cretarv lo issue in their name the testiaumials in fasonr
b( MuMsiPur H.>ci,sa,«IMihMa abNdy ftiaad aartar

the pres«-nt article.

Ill this paper the Committee are made to say, that the
conduct of Monsieur Bochaa has baaa wilhoat Uaaw ar

u formed faw what haa aetnal^ passed «ander theSTob-
MTOilea.^ s riasalls fta ^aafatastigalien s et on fbot by

• Wr believe nrverlheleu (
in iIh- Contmatoir* / bu this
commentlation oftr '

tbealaming impntalions which led to U,,. suspension?
Are the Committee satisfied of the (an. hnni strict
inquiries instituted amon^r ih,. youn^ lemales them

!r. u Y" I f"'!^''^ ')""« satisfied,

after all that has parsed, that Monsieur KochcasbonU
continue his private lessons to their daughters f Dn fha
Committee really consider the introduction of a eert^
V t . tlic pupils, as a dead without blaam, and the
example 5L t by such a person, as undeserfii^nffwiwocA;
\\ hether «e look to ibe first «ppointol«l af IiTSml

to bis continuance in office, to the meda nf cattfaw Mat
h.m, or to the iU.j„dgaddpca«ntwhich hlhaJSad tS

conning to obtain, WB anaat hot vcgret that the Com"
mittee of mhtt JiMitttte shontd have sufTen.l them-

selv« to ba dapadVlH.wrct.h,^ „„^,,.„^^ ^.^
t^nptiUe a nwnehman, and have rendered necessary the
present exposure, hich it has become an un|* *
a wrjr imperious jwrt of our dniy to malie.

FINANCIAL STATEMENT OF THE UTI
YORKSHIRK FESTiV.Al..

Thb foUowing is a correct slatoment of the result of the
Second lorltsh ire I-estival, Septeinher is2j, omittin? the
expenses attending the erection of the new CoMart-

BSCBIPT5.

Uintler. £ ,

Tickets . . . US64 0

snowing Preparatioas ... 74 j a

Donations . ,g

'^^>Vi . II

Sskerifatwfadi . . . : . tti 7

jT. a. A

Vot IV.

wmm mmommh parity

sreaksTCqrUHkiaw 1

ConeertandSdITkkelt
Showfag PnpanlioBa .

Total Raesipto

^ It O
48 • O

15,544 6 0

4 0

OISBURSBHBIITB.

Morning Petfif

Band — U Prinripul Vocal Perlbnncis 8140 10)

03 1 olficr lVrf«mi«r»jlBstoa» >

inrntal .xnd Vocal ... 49^ gj

Ci.-Hiu.'tor ^<ih| 4AaiiaBaiCsndiiaien .

Five HelllJWB IJli.Hcrs '

AiUpiirrij 'I'uniiii,' the Orpaii

Copies uf Mutic burruM'cd and prepiured, and
eanhigt of losmimcnts »

I'm of Timber

Carpenter*, Slrtirrs, l!rii l,l,iri-r, Carrer,
Whitstffiitli. »ud L'pboiitcrer . .

Crimson GM|.4m

Matting

Hop-Bsi^ ".

Paper^baogiiigs

ArcUtSCtS - -

Ckik

MM IS •

0 O
• 00
111 14 0

• 91S 19 0

IS70 6 0

3SH 10 10

119 2 8

.S<) 17 O

130 10 It

• 45 0 0

32 13 O

£io,9»a 8 a
M

Digitized by Google

Bvenittg Performantt*.
PreparMion* «t the Aswmbijr-Kooiiis . .

liifntmir ^""^ Rooms

Qwdrill* Bandi

MfrMtamCBt*. Sic. At thr ....

• » •

178 10 7
IIS U 10

tin II 0

101 IS 11

Morning amd Evtning Perfvruutnett,
Fnparatiunt al Vm fihiHhall fer ale «f

Ticket 38 19 10

FSttin? up x.n^ UK of Rtrnmi for the Steirardt,

Committee. koA principal Perrurmen ... 38 0 0

Rafrwliinenl* fur Performori and Alteudanti 6:1 16 0

P^tlBf Booka of the PeifkknnaJicei 4£7 7 1 1

MbcdlMWiMu PrioliDf .>.>•.>*• IM It O

Bbgrarmf Tkfcett. Ite. Stt < 7

Adwrtiiin^ 48S 0 I

Stationary and CiMrinr Clerk* 00 17 >

Tidcet-ScUm M«'Tak«% auietlnr AMndMli MS 18 O

Conitahlw MMi PtllM OfclW M4 5 O

SaodfiM • 89 10 9

TtiM £\i,Am 18 II

COKCERT nOOM ACCOUNT.

Exprntfii (if Biiildinir and tiniihinj^ th« Roott . 6.192 S 6

Punhnso Monc) and CnwyWIMtioM > . . . 2600 ^ 0

Tkxei and Inturance * , . 10 5 10

korM«B7 30500

tVM 14 4
5att 4 0

4aiMM 4

Cmm«*< Xmm Deficiency

Tie alMTO ghtonant ii talcn ftvn •
dH iB M Bd to MKii mnberar dm cnuoiHee, to
■M attadiad Mvertl expl«Mlonr iHtariki. A aweting of
tb« CMUBiltee was held at Tork on the 81st of March,
vhldi was attended also by Lord Mactlonald and some
others of the Fatroiis ; whi-n it appeared that, dtiductiiijj
the whole cxj>enses of the FcsliTal frora tho receipts at
the IVlinster, there was a balance of £*lli I7s. Id. ex-
clusive uf B .smnil jrtim remaining over from 1883; and,
after allowing about UMil. for .some yet oulstaiiding ac-
counts, it was resolved to divide forthwith the aun of
1900/., bein^ 475/ to each of the lafliaMriw «r Teik,
Leedi, Hull, and Sbefield.

Bjr the statement of the expenses of the Coacert-room,
it aippears that, after applying the entire receipts from
tlie Comoerla aiid BaUs towards defraying thcw, acme-
a^jrto ft nmMtom «r Jf^ i** atetoi at ibe
' of iba Dmm (m voL fi. h. lot and su).
Ii a d ele ieac y af akoal 400M The arehhect's
tat giuaad liailding leai B4tOL and the con-
fnctt did not on the whole exceed it. The exr-ess arises
diiefly from extra-work, with the purchase of wme addi-
tional ground, and iiiten-st of money. The sum of 14(K)/.
had also he«n deducted in the estimate from the coKt of
the (ground, in the cnntcniplation of the sale of such part
of it as wa.s not waoiml ; but as apartments were found
to be absolutely necessary for the principal performers to
satire to, in this' view, as well as in that of anj poeiibla
axtensioa of theOoneetriffaaa^ a Mb doai aal aaMar
aqiadient

' iiter mnch discossion as to the Best mode of prooecd-
ugander these circumstances, it was reaolvail^ tlwtiha
€■■■1 1 tee should apply to Messrs. Swann aodCb. Ara
lw%a» JtaiadhiiiMl tumhi rf tha

to ftm Mr anfafementa, by ceM |ilii tt«y the
aad dijihasaiai all outstanding demands ; and

K fleavejranee or the premises shonU be taken to
twa or three of the? members, iti hchdlf ot the whole.

With respect to the mode in >*hich the !,um borrswed
is to Im- rf paid, it was next resolved to make an appeal, as
prii|>osed in the printed circular, to the patrons, f^aran-
tees, and ihe friend's of the charities in general, in ortler
that the properly may be vested in trustees foe the fntaic
benefit ot the (bur infirmaries; which cannot be doBai
unless the debt be discharged. The circular just mea-
lioned states, that there is every reason to believe, that
though the Dean aad Chapter disttinctly declared in Ma;^
1SS4, that thej tiamaot tobe pledged to allow future fiRK
tirak, yet w h iaiw t » fNlMr pefiod tbaU anife for aaab
the requiiitt co^wat-win «et ba irilbbdli nlkmMij
gfaano oa which die Minster was enr Ntind, tha faar
of itoaaitalning injury, has been pfovad to ba tnfbandei.
The keeping np of the Coocert-rootn ia t h e refor e highly
desiraUe ; since had it been already in existence free of
debt, in 188.5, the profits to be divided in charity would
have been about 7800/., that is, just the same Kum as was
obtained in 1S^.S ; the total receipts, and the total efr
penses of the second festival, heinw each as nearly as
pos.sible 4700/. more thnn iFiosr of ihe former It is
then submitted that, unless the managers of the eharities
are |)repared to discharge the debt, an appeal should be
made to the patrons, the subscribers to tne Guarantee-
fund, and the public at large, to come forward with s*b>
Bcriptions. A contribution of eight shillings in the pooad
on tiie Guarantee-fund would clear the whole, but it It
dealitlU wbetbar dw eabecribeia to it are atrictti

wUla fba diariliei taoeifaa swplaa «■ tba

It was also soggeeted ftaa aWgb qaeftar. tbat if tba

Charities would each waive their quota of tbe 1900/. tba

room might be mortgai;ed for the remaining 20O0/. ; as
in SeplemhfT, 1R2S, there would Ir- every human proba-
bility of disclinr-ing thewhole, — vesting the property for
• heir use, free o( nil encumbrance, and receiving a hand-
some suq)lu8 in money — at least lOOn/. a-pioce — accord-
ing to the results of the two festivals already celebrated.
There can be no doubt, however, that should the preieirt
snrplns be thus given op, which is cordialhr apptxived ef
by some of the warmest friends of ttie Chantiea, tba
Gnamntcc-fund ailditt with atriet p t u p i aty, ba i
to for placing tba Whalaaf lUt HMM
tbe icaebaf bant.

Waeaaaot leftala flma adding totbe abava, thai Im
loobiog orer (ha dUhimeiitents on aie — tjf tbaf«il»
perfbrmaneea, aad aa comparing tban «W albaratolb*-
ments of a similar nature, it appeere moat dear to asy— '
and we are not inexpertenced in the bnain ss e tbat at leaat
ten per cent, might easily have been saved in the gross
expenditure. We mention this, not a.s any reproach to
the Coinmillee of Marm^ment — fur considering the
novelty, H.S well as the ditlicidly of the task, the^ ex»-
cutetl it in a most praiseworthv manner — bat as a friendly
hint to thoee who may bare the diraetka «f any fatare
eaneenaribtUai.

Digitized by Google

1. All Emctguwwia, Diction a by or Music,
Itclce.: if I. F. DammKUT, Profttwr ^ Mu$ic.
ISmo. (Preston, 71, Dtan-drent, Soho ) 18*5.

t. A Musical (iaAMM ar, comprehencting the Prin-
crpU-i and Unlet of Ihe Scii-nce. MgtkttOmM. Itao.
{PMishtd bf the same.) I B*C.

Im England nuicil men but rarely employ their peiu,

except for the purpose of forming muiical notes; and,
judging from «hat has fallen uiidrr our observation
aince the comiueiicemenl of this rnvic" , «(• are decidcdlv
«f opinion that they show a great ;.lian; of gixid ieiise
in .suhnuUii]); crotchets and quuvert, tu the public, rather
tbau nouns ajul verbs: Ihe former they find nuich more
nanageable thing.s ; and though in intrrMlucing those to
the Murld, an uglj error will now and then peep out,
and excite ame ■Hfjcin M to tbe theoretical know-
kd^e ol the coispoxer, yet it is easy to throw the blame
•n tbe engraver. Besides, as nineteen out of twenty of
sodem publiciUioM an cwKtomwl to "I'm galf of all
fcimuui posaaniaiii*' in ahiat antoas or aiglitaaa aontfaa
ffter Ibair birll^ rtilahiB aw aooa fingoUen, (be natter
ia talnd up, and nobody MrfTers, exoejit the
But blunders in definition, in reasoning, aud in language,
are not lo easily concealed ; a letter misplaced by tbe
compositor is not accepted as an excuse for defeetive
knowledge, false argument, or Imd graiinnar, and the
njouK lit a few senteiiees Lave passt-d the press, the
author is put on his InaJ, anil must stand or fall with
Ihem.

It has been our lot to review ami condemn in this
piblication more tliaii one work of a compound character,
■—to esuose the ignorance uf pretended tneorisis, and tbe
faults 01 unqualilicd writers, and we sincerely wiab Ibat
boolts which rendered the duties of criticism so pain-
iiil, had never fallen iu our way : nevertheless we could
■ot ahriiik ffoni « task vohntariij nndertakcn. and so
iMf «• kald oar olice^ will fttofcwly perform tbe
Mvnati that il requires.
Tha pNteBt Encyclopadm, or DttMoHorif, waa sbbI to
tnMg tmhi ago, but was soon followed by a notice
that tbe voilt was withdrawn. Fortunate would it have
been fur the author's fame, had he persevemi in with-
holding it from the public! — but he, we presume, thought
olherwiic, for it was shortly afterwards atlvertised, anil
is noi» rt'lVrred to by himself, in a new work, as an
authority which he by no means seems to think unde-
serving of confidence. We must wiUingljr laid the book
by, at the author's request, bat m>w ara eaUad apaa 1^
a senae of d«tjr to return to, aad examine its cottCaatoi
Ibr a diclioaaijia aat of so trivial a nature as a dirarti-
the one moat aillw
error ; tbe otlwr is

■aaato

lfatlla«anrtilla,£tKyci<»-

PMiaqf JHWSe, is a grooa afaaardity ; and not a whit the
||to**a 6r Inring been adopted in the early numbers
• fta UannMiicdn. But a,s we hitvr- an I'neyclopa-dia
af wit, of antiquities, aud of ganiemng, and probably
toM have one of ima ikiIm, waafaaU, aat iwMt aMeb
aattiafoiat.

After reading a few pages of Mr. Danneley's encycto*
ptrtliaral bantling, it l>ecanie quite dear that a regular
perusal of the wi/rk would be wholly unnecessary: aev
oordiugly we only opened tha book at random, in M

great number of pUusea, and have to detail tbe raaall af
such an exaniaalMn. If wa hawiiaad any ibiag laiy
eraditoh ar laawAaUy iaatraetiaa, w« nabh dnpiiaa ear
loaa.

bit preface by

The aalber seto out in

nitioo,— ai

thing in a dieiiemnr That in &a anaa page ha'
ns that he has not always pradiMd what ha iiaa pr aland;

and this is strictly correct, for we never yet net with
any work of the Lind in whicth .so nun h shyness of defi-
nition was evident : a little more of such reserve, in soma
instances, waaU haira haw |nidaat« m niU pNaaMl^
appt-ar. .

The first \^ord of any importance ihui arrested car
attention was, Acou4tict, which we are told *' ought (o
explain tbe reason of our receiving pleasure from
harmony." Tbe author quito misnndetstaods tbe term ;
it is the prorinei of ifetapAMK* toalbrd aaeb eaplanatiotL

At A-ia-mi it ia aaid, that the haliana "aUll ibitow
the gamut of Guido Aialiaaii aad nag by ButalMMn."
We ask Mr. O. to poiot oat any ana adhpat ia ltal|r
where the hesacborda are nied Iw tingen, ar to mmmm
•tngje liviag tcobI ferfimacv ef dutt eoMlqr. ite tm
been instraefed in tnen^ .itndaattm la d tioi ht d aa «
quicker movement than Andante. This shews thiU the
author is not aware of the original use in music of Ihe
latter term. .At ilie wird //i.j.f we are referred to
Accolade for an explanation. It is curious enough in an
English Dictionary to find a simple native term iiiler-

firetcd by a French one. liut alfectations equall}' ridicu-
uus occur throughout the work.
" Chorvt, a complete piece of music, in four or five

Krts, sung together by a number of voices, accompanied
an orchestra." A piece of music ibr four or mors
voices, must, past all aoubl, be sunv by a number of
voices ; but why may not a chorus be in threat <* tWo
parts ? — and why is the accompaniment of as orahaillB
naaoHiy t If Mr. D. be right, all the great C BnipeaBi a
hare beea thaawfaUy ignorant of the teal mcaninK «f
the ward i aad* ■omncr, the Gieda ifaaiaaelTCR, fiaa
whoai it is dnwed. tMit abo have wanted asaw of lha
light which is now thrown on ii.

'* ClaricfTd, a musical instrument in the form of a
spinnct." The best and only authority on such a .subject,
is I.uscinius, who, in his Muturgifi sen nrojcis Mitsicte,
— i;ives us a very clear wood-eul of this instrument,
from which it distinctly appears to have been in the oblong
shape of a small piaoo-iorte. Anticjiiarians, therefore,
must not look to Mr. D. for information. \ little further
on vre team, that " when tbe tenor serves as bass, it is
ddled anUn^tenar." Heavens ! what unparalleled trash 1
Wa noEt lamed to the following : — " CourUa-poitU, thia
torm takae ito origin fniin tbe ancients." Here .at ooaa
to aetttod tile lonc-eoateated qaeatiaa, whether thca«"
ciiwti aadmatoed haraiony, t. c. coanterpoint. Tbe non*
ehahooek aad Wanty tea, with which thia most learned
poiBt ia latonriaa^ aat adaUrahto. MMaftmh Mr. Sl
calls art or mkaaf the eaimMlliMi af a Qtomer
subject." This article be has very mcorreetly traaslaled
from Rousseau's explanation, transferred into tbe pagea
of the Emlyclojiidic, and finding there the ward chcaU,
adsipla it At onoe as an £agUsb term 1 On thto we Mift

Digitized by Google

TBBHAltliOilIGOH:i

also remark, thai Rousfeau himiolf is in ermr. for 3/*-
Utfiocni did not signify the rrfA't fnr makinj!; nr rritn|;osini;
inusic, hut the very makinif ilsi lt : us Arxyi^ -/ii iiu'aiit
epic-making, and not the laws hy which an eoic poem
was coodmcled. At th« word Ciimas the UnMcriag of
I ipiite diverting.

■istore of toii|;nea is continually
oecnrriiw; as Cawn at unitmo, naiin prinapak, &c.
The connnion ariring from an ignortnee cTthe ■> M l f i i g
«f wofda h apparent in almoat wnrj paga : Am ««
Imh* "tOMequenl preceding;" 'MtwaceonBodttHni of Ut
cakigaBClrt;" ■* tae use of a lexicon, before indifpeniable,
will nowlie belter superseded ;" &c. The affectation of
French terms, alluded to above, is carried to a ludicrotis
length: but pTen German Mords, perfectly o«t of place
in an EtiKlish Dictionary, arc iiitroduceil, willioiit the
shadow of ft pretext. AMntcver mui. or ran t-xcoct to tiieet,
with iHr won! '/.\i'-lt'iciit.-Uakt in his reading or practice i
Mr. D. is no less nnfiirtunale in his orthography- arul
grammar, than in \\h definitions: thus fsee Cunc-rin
Qrouc) we have, obUgato, for obblif/ati ; ripiene, for ripieni ;
Stxlour, (arSexiuar; Cookoo, for Cuckoo i — cummvltit alU.i.

As a sample «f the niaikal knowledge displayed in
tbe work before W, ooly need quote the following :
**llilieiOr 9,*lone^iir maeoMipuited oy any other figure.

!■ ifmd bastes, fa mi ablirnriation of the s, a, 7, and
W&.—lk th« very Mkt pftg«, we find nine-ag^t time
d e n rih eJ es,^ mii« fumm, sr mtu paru of a tmnbrm*

VnA we bkfe devoted more room by half to this foolish
WOlk than it deserves, and shall conclude our examina-
tion of it by the author's explanation of a word which he
niusl hfiM' iiiidLr.vtiwxl, had he been in the slightest way
qualified fcir the task he so presumptuously undertook.
Thn word is T'stvdo, which as every little LIHl^vs,
signifies a tortoise ; and as the first" lyre was made of
the shell of this animal, the Romans gave its name to the
instrument so formed. Mr. D. thus interprets it — " 7>j-
tudo, Latin expression for tlufe."

Tbis book is t^atlu-red, with very unskilful hands, from
tbe nirienl portion of the Eneyelapedie Mtlhodique, the
eai^ pert wbereof wea ablj compiled, theudi it is too
polls. Tbe letter wdBBe vet left teaM. wnnigny to
complete, e win pereoo, wbe aveilcd blmaelf of the
opportunity te ebtririe on tbe world bis theory of music,
wbicfa is bdd in alter eontenpt by all who have the

Glenee 1e read ft, and are aUe to judg;c nf its merits,
na tbe Utter half of a work that ini(;hl have reflectKl
boaonr on tbe nation, is only known by its omissions,
enon, and the alter iaoepecit J ef its editor.

TliL' M\:.iii-al Grammar liy tlio author of the fcregoinj;
dit tionary, f'xhihits many of the faults of its precursor,
without piissessiiig any redeeming qualities. It consists,
in fact, of the mere rudiments of music, extended, by
means of a large type, many unnecessary musical ex-
amples, and wide printing, to the length of a hundred
pages, containing no more than is usually comprised in
the few first leaves in the ordiaerjr books of ioslree-
tions for the piano-forte. The writer, bt athoft prefhee,
takes credit to himself for beving « reriral" Cve terms,
fonaerlj bcM in cstinaliMi \q ns, which are, Qatur,
bsiteed ef the Kef*tar4i PaUeit and Foalw. instead of
If^r end sisrf keys; Knaty and Ternary BeasBres, in-
1 of Common Time and Tripte Time, though not lo
tbe latter." This sentence at once involves

a conlrfidiclion ; but it would fill half our number were
vvp to criticise verbally such a work. These terms, he
sa_>.s, are nuw "universally adopted on the continent."
IJefore he had made this a,ssertion he would have done
well to consult again his great authority, the Eucyclo-
pedie, and there he would have found that such worde
nave long been obsolete. So at least say Raesssea aiiA
Momigny. But we woold ask tbe antbor to name eav-
one place where these tanu (tbe word dat<ier excepteii)
en w nse f We have never fhoBd lhaea ia aech beoln

ef bialmcliasi as have pessed through oer
English, French, or Italian : and at all evenlt, they are
worse than useless, being iunovatloM irfdNnt iiBiiirove>
ment, and by no means se aunpk Or M inlelligiUe as

those in common n»e.

Page t , tlie scniihrevc is described as being " the half
of a tireve, and ' fjuul lo eight quavers, or two minims."
This is a new nir thL-il uf teaching. We pass over a mul-
titude of odd things, and arrive at page .j;,, where tin: sl\i-
ilrjMt — a young one of course, and a beginner — ii tuld
.something about iiota huona, temjjo Inimio, (pvtpn atHn o,
and no<a catliva. We hope, for the sake of music, that no
instructor will ever suffer a child to be worr ied by such
nonsense. At page 4S tbis figete — is called a

rliomlniiJ. In the name of comawn sense why did not
tbeprinier's boy correct so disgraceful a Uunder ?

The leugnege employed ia thia denealarj book is
fidl ef the amsl paltiable nmm ef eoaatnelfan, laugb-
ebly affected, and often oninteUigible: but ell this is as
nothing when compared to sneb ea instance of deplorable
igaotaaee aa thet with whieh w« doee tUa article.

•<Thblaatdef," aayeteanthor.MUsidy,^: "bj

way of distinction, is called thr Coi .vtkr Tknor
Clkf." Again — " the C clef, placed on the thirtl line, i.s
called .simply, The Tenor Clef." — W'e need not add one
woril inure: though really bi»lh of Mr. Danneley's bonks
might be reinlered tlie source ol great nuTrinii iit to our
readers, bod wesuflicienl time and space to bestow on them.

1. Ga.4ND MlLIT.4RY DlVEaxiMENTO for the PlA.NO-
FoHTE, di'fiicaUd lo II. R. II. tite DuKE OF YoRK,

bu Ferdimamo Hies. (Willis and Co., 55, St.
Janun'fUntt.

». A FATOUmiTB Ala /ram the Ballet of Nina, toitk
Veriatiens If MavaKDBR (Op. so), amtmged for tkt
PiAKO-FoKTB, hy Fmi>. BiKe. (Gev and Sea,

1«8, Regeni-ilrteL')
In tbe above Military Divertimento, Mr Rio.s has quite
abandoned his usual clabumte style, and prii<loi eil a com-
iwsition some«hat in the brilliant ni i!, ( 'inip.iratively,
familiar manner adopted by Steibelt in his luntasias;
and althotlgli he has introduced many passages sulB»
ciently ditlicult to enable a good player to make a full
display of his powers, yet we do not find one that need
dismay the generality of profideots. The piece opens
with a characteristic moVMMIlt la D, tempo di Manias
which at the end of fiDer pvea enaas Into the well-knmm

ly wcdarranged forelbet,
by what nay

JhAenfYork'tMardi^t

and enlaiMd to the eatanl ef nine pacea by woat ■
be celled digreaiienefifeB tbe snbjcct, batwnehde
wholly lose ngbt ef it. One of these, page S, if

of the nn

markably piod; end tbe second part of the marcih i

trio, page 9, is not less unexpected and striking. It
then passes into a Rondo a la ledetca^ iu a moderate

Diqitized by Google

TBI HARMONICOK.

Ar«e-eif;ht time, and conclodes with « few ban of the
iMkKh. The preient ia Ukfllj to tte one of the OMXit popu-
lar works tbat Mr. HIm Ma yet pablished, and as it

Mbk t is *»%Mntifti dr beginniiiK

with sc^i ti of MavM'dfr'b variations; but the whole are
BO arranged as to require a large, powerful linnd to exe-
Cate them ; and the ]>«<i$age!!, which mav p-rhaps very
well suit M. Mayse<ler's violin, lie so a\skwardlv for the
piano-forte, and demand such a mastery over the instru-
ment, that we cannot sa; niucfa in recommendation of
tUm pdb Mwli— Id «ka wtt M^w^y tt f utmrnua .

I. La Troubadour du Tage, a French Air, vrilh Va-

KIATIONB for the FlANO-FoBTE, by T, I.ATOUR,
Pianist to Hit Moiety. (T. ¥. LatOttT, kUe Chappell
and G*., eo, New Bond-OnH.)

I. Iria^ L yq Tj • DnrumMBinro /iir tke JPsano-
VtWVEt fi un id fli Aiih Akn^ cvtifntd hjf T. A.
Rawumcs. Na 1. (Utaur, M, Am* AMMhi«r«a«.)

3. Ditto. No. 8.

4.]>illik No. «.

ThbSB is a certain tact, combined wiib a full share of
taste, in Mr. Latour's publications, which ensure them a
large and ready sale. No man knuwii betltr how to
avail himself of temprary circumstances, of imiualialc
fitshions ; and as he addresses hinsdf rather to the many,
wlw lilw to be pleased witluwt wmA trouble, than to the
tnr, who wine nothing that is flblniiiad by labaor, he
aeenm Ihe nMUority in bis fhvow, and is one of the most
MweeMfU omposens of the day. The present air ii a
caite in paiatt WO htm here ft.po«iIer Frenob eir, with
eight varMioM of mtj nwdente Imgdit wae of them
4iikatt,toeUmthar ckgMi t«Biehieisy. Inthemidst
or these we And two, A h Vdloli-^wrhtea in Oe style
ef.tbat performer, and seizing his peenliarities, whether
good or bad : thus profiling by that which, in a degree,
eiifta^es the attention of a certain portion of the town,
and f;aining the notice of a large proportion — four out
of five, wc venture to say — of those vrho call themselves
piano-fu.'te players. Such as do not admire the singer
abore mentioned, will, of course, cut the variaiiniis a la
Yelluti ; and even then the remainder will sutbce tor the
admirers of hri'vity. who will still bare left ft gtied iMlo-
ductiori, and six pages of pleasing music.

Nos. », S, and 4, are a collection of airs, two in every
book, in the form of divertimentos, each having an intro-
doctory movement. Tbe flrst contains The Exile of £nn,
n a larghetto, and an *• original Irish air," with three
varialians, in the fom of a qnick nKvoment. What is
atoaat by the latter 1illB» we know aot; fbtr if aewiy
composed, it is no part of JMa'* Mach leet do

«e aadentaad tbe aiigntteatiwer theltdiai) word irAerso,
as it itands at tbe coniMeneenwnt oT this last air.
Tbe introdoction and first part of the present divert!-
BWnto are tasty, and the quicker morement is lively,
Ibragh the variations arc rninmoii.

The aeGODd number has a briUiaot opening, followed

by The Maid of the Valley and Planxtv Kelly, the latter
as a spirited rondo. This is an excellent aaaber, uid
by far the best of the three.

The third, after an introduction of two pMjee, ttimlftine
The Moreen, uAMaU Room; tbeftrmor ai an aadao-
isno, the tetter at •••Raodoh«lo,''*iMm. ThaMtwa
aba ara aol M faaaHariy knowa a« Ibo oAm; Mit
likdy beeanae they do not posaen equal beaaly. The
whow of these are composed with a aoe regard to fad*
lify. so far as is cumpalible with effect ; but no performer
need blii.sh to play them, for if in the bands of a tolera«
bly skilful p e n aa, ibqr atoy be rwriarad bfillimit and

plea-sing.

1. RoiTDoLETTO on o foBemriia Spaniab BolaMi fir 4ht
Piano-Forte, bg I. P. PlXM. (Oolikt and OiKt
iVi'noer-ifrart, /faMowr-STuam.)

i. A NATfOKAi. Danish .\ib im'til Vari ationo for

thf Pi A.NO-FoRTK, by the same, (liy the tame.)

S. " Di taati palpitt," arranged mih VAaiATiONS/orlAe
PiAiio-Fosn,iyCAiuiuFEBnL. (B|plke«aato.)

4. BBUxiAjrr YAKlATtom «• • ikroarita Germaa
Air, for the PlAWO-PovTB, by J. N. Huhmbl, Op.

97. (Welsh and Hfiwcs, 2*6, Reif.'iiJ-strff:!.)

The first in the above list is an exceedingly gay compo-
sition, tbe greater part of it on a bolero base ; by which
is signified, a base in chord.s formed chiefly on tne key-
note and iftb of tbe key. There is no complication of
harmony, no extraneoos modulation, in this rondo, and it
is not very rapid ; yet it requires a veiy nimble finger,
and a strong luuid to give to it the proper effect. U ii
short, ard preceded by a good intradaetuin.
No. s has no qaaU^ (o dietingnlab H r

commuD-plaee

hands of the engraver, and ftMlly |

the cheesemonger.

No. 3 miiN lie dfscribod in aoarty thn same terms.
We rarely now sec tbe word t'orjiltfdNS, witbuul suspect-
ing thnt the geddon of dnbMia baa bad aoM riNwe ia

the work.

No. 4 is another edition of a work, to which mp Imig
ago endeavoured to do justice in our review. Tliere ought
to be an abundance of acc(ini])uiiimcnts to this ; but as
we have not received them, oondude that Ibey are sot
gifoa in tVi ra^blieatioB.

1. Llwyn On, or The Aab Grove, a fatauriti Wsutt
AlK, MMlft Variations fbr the Piamo^FoBTK, Ay
SicuroB Ramon Carnicer. (Bireball and Co.,

i. DiVEKTiMENTo for ilie I'l A .NO-FoRTK, on Meyer-
beer's " (iiuvinetto Cavalier," com/xued by Pio ClAN-
GHKTTUII. Op.lt. {trulm,7l, Lhan-UreettSeka.

3. SlYBnutSMTO Ar dim, on Meyerbeer'a ** GnW
NMak** igike uma. Vo. S. (WiUit aad Ca, U,
Sr. /mufVilrmt)

4. " Cherry ripe," ctmpaied by E. ^Iorn, and utratiged
ata Rondo fortke PiAMO-roBTS by T. Vaxsntimb.
(AtMUMAylheMOio.)

SiGNOR CARMrrn is, -kp believe, by birth a Spa*
niard. and was retentlv .Uu-i.'r ' ul the Italian theatre in
Burrclnna. \N e reprct iluU he sliiHild have jifli<l this
island the comfliment ot arranging one ot its national

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THB HABIfONIOOir.

«irs, and one thftt it so oommon too ; had he chosm an
•rtginal melody of his own native country, he would, in
•11 probability, maiie mnre of it, and have pleatied db
MMA IwUer. Tile intrMtoctioa to tbw im awi^alie, and
thtvilittiMMtotlwurKewcllftr «• hmd; kMthej
mm Vkm nost other variatiomi.

M. fi» C^ncbettini, in bis two divertimentos from //

^'"'^ *?ijSlitlili^iMnr** tT-r-T- ^^-- ' ^b
Mm adaptor h« nad* «• ilrifillj i* ehaMelervMl the
general st;le «f the mHie that be bM dMMR ftg hi g

pfeaent purpose, and the introduction to each ta Nqni

tendiiif;. These tiubjccls, however, have passed Amtfih
aotmnv bands, and have nln^nrty b<*rn publhlied in so
■•ny shapes, that we fear Mr. (.'. will find himiseir, ac-
cording to the vulvar pliriisf. a (luv nt'ler the (.nr.

No. 4 is an extremely pretty, easy bagatelle; short.
an>l i riiLtieable hgr ill fofmnnfi maift tte dan of
Dere begianei*.

1. Six TATovBifB Wattsbs for the Piaho-Foktb
Im S. K. HnMllKL of Vienna. (CocU and Co.,
Princet-street.')

S. Six National and Hi.noahian Waltzes, jW
ditlo, by Cn iRLK'i Hi 111 SKK, Piani si / i .''i.' Ktmj nf

WiRTKMBuao. Op. 4. (Boose; and Co., SB, HoiUt
a. FouB Briu.1 ANT Wauxw fit di'ltot if lb «aMi«,

Op. T. (TA* Mme.)

4. March, with Taio /kt fA* Piano-Forte, hy
Ion. MosciisLiia. (Weasel and Slodart, 1, Soho-

i. La fiaOa d'Apallon, • edkctioii af Geraiaa Waltzes
. tor ibe Pi AWo-FoHTB. (PvAlisktd fly Mr ram^.)

5. Ewer arid J nhanninjt's Collection of Mahches, i^!-.,
/or /A« PiANO-FoaTB, if various ilaib^t. tiot. lo
ami 11. (Bipar aad JahamiBg, Ma. RtguU-4bm«t.)

Tab best of tbone contained in No. 1, bare already ap-

Cred in the Hnrmonieon : we need not ad<', therefore,
I we think t!n'm uoriSv nfthp irreai name they bear.
M. Scbunke has in his (irvt b<x)k produced some good
waltzcii, but in liovs tliat will not recommend them to
youii|5 players. The filth and sixth, both in A flat, have
great merit : the modulatidn in lh<! latter into K major,
pnxluccs a charming effect. His .second book, No, 3,
•hews g»«at ability. Thest? four waltzes have ninth
original matter in ibam, and are worll^ the notice of
•nperior perforaen: um» «laa eaa dnnr Ibe ptoper
effect from them.

No. 4, it a mere trifle, but the composer's name en-
titlea it to ootioe. It It eoatpriied ia two widelj^friated

''f^ tf and • «!• eontinttations of pnblieatioiis (bat
baire been aetfeed in onr review daring their progress.

Select Airs from Spohr's OjM-ra Fau.st, armm/cd for
the Piano-Forte, with Fn te animtp!. «il lib , by

. J. F. Bt;aaowKa. Books it and & (Paine and
HapUncW,C)iniMK)

I two numbers ooolaiB anaa if tta aiaat fartiNttini?
piecce ia the opera of Fauil, lo odabrated in the north
if Ganaany* wr. liumiwes in hh arrangement has
mmj BHUBj of the diificaltMS whicii the score

presents, aitd though hereby aa efTcoi noMr and ihea
lost, yet it enables ihoee to beeorae acqitatwted with the
worli, bIi
of it.

1. The OvBBTuaB, in il Ckaeiaia in Bgitto
ammtfid at Du BTa for ihe PiAMO>FoaTB, 6y T.

.■VTrwroon. Book 4. (CIcmentt and Co., CAa^nidb.}

2. " Gi^^^illl•tlo Cavalier," fri'm the same, arrangrd fiir
Two Performers on one Piano-Forte, 6y W.
CaOTCH, Mut. Doc, Profissor of Music in the Uni-
verti^ rfOjtfbrd, Ite. (Welsh & Hawcs, lirgmt-sievt.)

3. iKTaoDVCTiMI aad Aia, ** ShoaU ho upbraid," oi
a DuKT for tte Pt AVo-FuaTK. wUh an accompt. (pi
lihitaa»)/orllWHAaF,6yD. BaLcuiEa. (G«uUi%
D'Ahaaiiie, and Co., so, SoKo-^juare.)

4. Introducthj.n ami Polacca, " Trifler, laifcMrl^
as ditto, by the tame. (Publuhed by DUlo.)

5. StiUUo from Figant, " Ricooosd in qoesto ampleaMk**
Birai^ Of a trnxtf^ Ut» Pi axo^Fomis, kg Bbw.
HoLHKB. (Codfl aad Co.)

6. Bishop's airs, " Little Love," and " Yes, ye.i, I read
it," arranijed at a DuKT for ike PiAMO-Foan, bg C
T. SxxBB. (GauUii« aad Col)

Ifat. AmrooD, we are glad to perceive, is continningbis
adaptation of // Croeiato. The present number com-
prises the fine chonis, " Vedi il legno," the following
CBvaliiia, " Caro maiio," hiuI the aria, " Qiieste Desire,"
all of whit h are as \>(>1! c>«lcuialed for the piuno-fnrle as
vncal inu.sK- is iimihIIv (iiutid to be. liul we wish that
the engraver nt this vsork wonUl liHik n little more care-
fully to the piHnos, fortes, i^c . in the part lor the second
performer.

Dr. Crotch has arrangcil the beautiful Romana and
I'er/etto from tlw same opera, in a most judicious aianBor.

The conversion of some of Mr. Bisiiop'a heat airs into
doets, or rather trios, is creditable to lha ■8BMMJ of Mr.

admirably calcalaled Ibr soeial masic parties.

No. Ti, the Seetetto from Figaro, vte have never before
seen in this form. It answers the purpose remarkably
well, and makes a charming duet.

No. c is a very ea.sy adaptation of two good and
pular airs, and quite caleBialfld* IB foiat af
tor juvenile performers.

VOC.\L.

1. Six SfAM.su AiR»,n;j/y» an wccompt. far thsVlKUO-
FORTE, oompi>s,;d liy Sir^NOK KamuN CAaHIfiBS*

(Birchail ami Co., 140, iVno BoHd-ttrmt.)
9. TvBBB VonvBirM jhr Tvre Teiowi, wM am ww irf.

for Pi ANO-Fortt:, hy tkr Mme. (Pvbiithed by />o.)

S. 11 Sagoo, TsazsTiino NoniiaNo, wiiAan accompt.
>hrriA»o-FMis,«ylito«Hae. (AMolMf % Ak)

No- I of tba above eondato of ain and daala In IIb
Spanish lanfroage, each of tbem beinf: idto(i>ediar aa*

liunal in characier, and singular in circft In the OMB^
p oaitioB ot them there is mach afatligr and laveation

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raK HAmONICOIV;

ami, hut for the impediment which (he Uncage
throws in the wav, thev mi^ht become popular here.
BtfifTior CamicLT has |^al rewsoii to complain of his
etigntTcr : amoof; many erron, the most important arc,
tlie want of a double C sharp, bar 10, page 8 ; and a o,
t, and E, instead of f, b, and d sharp, bar 11, MfC 11.

The nottunios are set to Italian fiardi« nam riiall
ba Mqirised if the; do not make their war tmoag Tocal
Tbejr possess a large aliare of IiaUan nelodjr
with maeh baldBHaof modulatioa added to
rnatinK gnalilkli Am ftftnigner, Sig. Camioar
■qr ka escnsed for wtm and IhM aiKakia^ ibe aooeat
of Ibe lancuage ; but we f nd • ftw amrs in the com*
pMMen waich are not wo pardonable, and mast be r<ir-
recled. We beg leave to point out two: the first is
at pape 4, bar S, where the c natural is intolerable, and
should be a D : the next will be found at pagi' 7, bar 6 ;
here arc two hideous convecuiiv ' (Ifihs. These occur

2ain four bars beyond. It must howeTer be granted,
It the merits of the work nre sufli'-ieal to KlOM for
tbese, and many more, such inaccuracies.

No. H is a beautiful terzetto, to which the composer
■odeatljr gives a diminutire title. It is written for two
Miranos, or Icnora, and a base, in three morementx, of
vwcb, however, the last is too long, and Mfd|y be
•bridged. For the second nMvenient, aa ttouiliiio, the
ttlbor ii certainlr a little indebfed, m to Ibe uimtl
eharader and design, to tbe FnMtra fa Boumi^ jr«f ,
-Dd lae stoUato n|lto,"'bal tha atMsMt «f any iaien-
I H b^ M Mtant dediive. We stnmglj
Iba Ismahv paUications of Sif^or c.

ar good Tooal mu»ic, with
ftlillbaavdljfait.

)• DOBTT, Music, Hop, and Mirth, sung hn Meturs.
Lttt and Terrail, and compoitd bji Dr. WuxiAM
Cakn ABY. (OnuMr, AddiMo, nd Beak, Ml, Me-

S> DumomiCtfOllVS, to Diana, composed by the same.

(BMtall and Cb^ i4o, AVu> Bond-sintt.)

t. Soto, "What is love V tcriUen by Miu Barber, the
mune bjf Jobn Barnrtt. (Cnunorand Gbu)

late." Ito mmic if Iktrnm^

4^ammj "Ibdalaet li

■)

A. Ba*a, <*1ba Otavent bells," the teordt by J. H.
Bradlbnt, Mr mane by Ava. Msvita, (Aasian, ri,

Dean-itreet, Soho.)

9. Bauad, ** Canst than ftiget the silent temt" Jhm
Lmd 9kmngfi>r«ft Gtmoent, nmpoted by W. H.Caix-
COTT. (J. II. Cnllcott, 89, Clrrat MaHhrmugh-sfrpet)

7. " What IS Prayer ?"/o»- Voice and Pi a.\o-Fortk,
parity selettcd from Mask in Epitto, and arranged by
T. B. Phipps. (Dorer, as, ChaneeryUme.)

•> CoUastion of Select German Natianal Ma M^ t, wUh
Aeeampanimaittg PlAVO-Foan, ar GiriTAm.
MoLLWo and Dbbwobt. Ifoa. to to SS. (Ewar and
Co., Bme Churrh-yard, and Ri'gcnt-itreet.)

*. DuxTTo, for two aaU, « Mean, ilaaa," by Or. Bkk>
TBotD. {PubUtlud if tit MM,)

TntntoT ibcae is Ibr a unalra f w wA Bhw, bat
H"?* ^ ■ ittoialbir

r iHtnlulLd fiir performance at tbe aoeial board, than
thotqgb there it nothiag m it Ant

can ppii.JL-r it at all objectionable in tbe latlpr This sort
of table niiiMc is scarce now, the few compositions of the
kind extnni uiic'^ «imus('<l our grandfathers and great-
grandfathers, ami require occasionallj to be mixed up
with someihiii); rather more fresh and less known. The
present will answer this purpow aaoeedingljr well ; bnf
It nasi have a piano-forte aeeoapaniawat, which is Del
always to be bad ia Ibe diaiag aiaM. and wHheal it half

tbe neni, half af lb* fiaadtrat kait, of lba<
aitiMwiUbakat.

Ne. 9 ii a Hfdjr daat, Aa lnoaapnnos, with a <
to which a base part b a dd ri L It is a very iirette
easy ooaipeaitiQn, which anjr anatova aay sing, for M
coipaaa la wry a n dw rt e^ andltoeMiliatllon pactoe^y
simple.

3 hns a considerable share r,f merit ; the melody
is >er> |ili a-siiip, and the words are pro|)erly nci eiited.
Hut this, like other Mongs by Mr. Barnetl that have fallen
under our notice, shews that he either writes his aceom-
panimc-nt hastily and incon-siilerjilelv, or that he is not
perfectly aojuaiuted with the rules of harmony. That
we may not be accused of alleging a fault without prodnc*
ing a proof, we quote the annexed bar, which, oocurriag
tiHee, eanaat ba nd^tled aa an ener ar tha aagraiar.

The harmony, too, of the seventh bar is objectionnble ;
the chord of the Olh and .5th cannot desrenri from the
seventh of the key to a perfect chord on the 6th, without
violating a rule and otfending the ear. The poetry of
this is far above the level of ear andantandiaf wnt
Mr. B. eoald awbe any thing of il, we oaaaot inaii^na;
unless, as we once beard a ooaipowr assert, tbe Mgl
nonseusical verses are the best for setting to mniOt

The fourth in the above erder, ia an rtmaiit aaaipaiU .
tioiii and worlbj tbe nolioa nf tboia wbo aie ilal apt to
ctHkiKlba paetry of a sonf, vMcb fa lUa faatanea ib
Aaai fba aane pen as the fomer.

No. 5 is a charmiog song, and manifests a great deal
of fancj ; the imitation of the bells is auitc let^ittmato,
and that of the organ, at the close, is oenutiftil. Tbe
word "silvery " is intended as a dissyllable, and shoold
have had only two notes M-t to it. The e, in first bar of
second vocal staff, is, evidently, an engraver's error ; it
should he o.

Mr. Callcott's ballad is of a very superior order ; the
music is worthy of the words, and this is no mean praise,
for they an allowedly beautiful. There is a vigour in
the haratony of this brief composition, that shews a
powerful imagination. Tbe second bar of the final sym>
I^ony is perhaM of rather a doubtful nature.

"fio. 7 is "Dal too steUato bo(Uo" set to EagDab
words ; the few trivial dtatatioBS Bade in it da aal
jnaliQr tha ward •'aauli'' faaerled in the tllk-na|ek
wUab waaM nataiaO j lead mwy people to belim
ttat IbeaMfit of the wbola fa dMdMl belwMi StaiMr
Reasfni and Mr. Phipps. Tbia fsaeriaa, wbb* li £%

Einin;^ t^xind, e»nnnt be too loadly condemned ; we
ve tKtore expimed the iojastioav. <

Digitized by Google

THE'HARMONICON.

faooliios? rif it, in th<> cn'.o <if a piece brought out hit
year at the Kiip;lish Opera Hoiise. ami shall shortly baTe
SOmethiiifr \i'r\ serious to say on ihe suhjid.

No. H is a foiitiiiuation of the work before inpntionetl
by us. The present numbers contain airs by Mozart,
Winter, Reicha, ami iiiinmel ; and wp regret to say,
that the adaptor of them to Knglish words seems to be
Wry little acquainted with the accents of our lanpuaj^o.
■ No. 9 is a burlesque of the duet in tJidlo, and will
■erve to amuse iboas who thlDk with us, that this Italian
Opera is one of thoM alminlilisi which ought not to be
naeikiHtd la « eoontry that gate binh to Shakspeare ;
' r it has aot anniQal iiicatlb <nou|h to apologize for

which is consi-
ful

Ihe ridicttle which it easts OB • tfafady
dared, by many, as oaa of ita anlMr't

H.\RP AND PIANO-FORTE
, I. OVBETUBK to I^s deux Journces, arratujed us a
l>OET/r<AeHARP and Pi ANo Forte, tri'A accwi-
panbnenU for Flutb and yioMHCsixo. by N. C.
' BocBBA. (G«iildiD{ aad Co., SAotfmat.}
S. Am, "Non, Je ne veax pas ehanteri" arramgtd at
diUo, with an Introduction and Coda, (Atf Mtwe.

HARP.

9. FAMTAatA k la Rosse, for the Harv, if th* $ame.

(Gow and Son, 168, Rr;enl-,tr>'rl )
4. Petite Melange, /or ihc li Anr, on Ihn^f jaiourit': airs

in II Crociato in Egitto, ii; llie <.>i)ii>: (F. T. I^tour—

iaie Chappelland Co., 50, New liond-strcct.)
0. Intfodnction and Variations on a Russian Air, for Uie

Habp, fry F. La Motte. (Gow and Son.)

0. Preludes for the Harp, hy Henry Horn.
■ (Welsh and Hnraa, «4«, Re<jci,l-^ireet.)

Ha. 1 is Iba in* arartnw by Cbcrubini, transposed into
y, in sfder to reader it more generally practicable. It
Imes mndi by this diaoge ; bat in a oommeraal point
of Tiew, the alteration is, doablksi, an improraaient.
The aceoeripaniments are perfectly easy, tlnnglh thqr
add considerably to its effect.

The air, No. 2, by Mcolo, to which Madame Fodor
first gave celebrity here, makes a pleasing dnet for
these iiistrunii'nts. Mr. Boebsa has arranged Ijoth tho
pieces e-xtreni' ly well , indeed his chief merit is in adap-
tation.

The Fantasia siiesss a want of invention; but the
Russian airs are ple.'ising mid popular. No, t cninprises
three of the mo&t favorite pieces in Meyerbeer's admi-
lable opera, well blended.

No. 3 contains a few easy tariations on an expressive
melody, with a Coda.

Mr. Horn's Fidndes, ten in number, if not very
eiigiMl, ediibit at least none of those grammatical

na la dsBlnre in prelndists on
the hare. Tbeie lie wdl (or Aa aand, do not require
uiKh shiftiag af the pedals, and 'vfll ^ the learner

eoReet notions efhannmiy.

VIOLONCELLO.

|. TantTT AiBS arrmgtd a« BoiOMfor the Violon-
oauo, «ri(A A Bam a eem pa ni m m t (ad. jUk) md the

Boolt8iaiids,(I)a*wawl

' Cllla«e*fy-/an«.)

8. Select Airs from Der Frpischiiti, orranyNl as
rfiHo, /-y the tame.' (Publitlted a$ hefare.)

3. IxVTRODUCnON and FOLACCA for PlANO-FoBTlt

und YioioscEixo, eomposed by 8. Godbi. (Ban-
ister, 109, Ooncril-dntl.)

Mb. PiCkard's t»o bxiks are piirelv elLineiilary,
and contain all the mo-sl popular airs of the day, set jii
the easiest possible manner. Fucilitv seems abo to
have been his primary object in the arrangement of mokt
of the best airs from 'Weoer's opera.

Mr. (iodb^'B publieatioB is pretty, and devoid of any-
thing in the shape af dUBealty.

Fl.LTE.

I. AfftondllelaiiEe for the Flute and Piano-Fobte,
arranged from Der Freiadiiitsiy T. LlMlMU.¥. (Lind-
say, 817, Rejeni-UreH.)

S. A third ditto.

8. A HtMd COHCBBTTNO, introducing The Maid of
Lodi, attd " Flra lante angocie," composed in an easy
and MMiant tbOg fir the Vimts and Fiamo-Fobis,
&y Chailes NwiwlMn. fPubtithei ae befiit.)

4. The "VVrealh, No. 1, containing the AlRS in II Crociato,
as Solos for the Flute, by T. Lind&ay. B««»k 1.
{ Pidtlithed at before.)

5. Tenth let of three Grand Concertante I>VKTm for O
FLTJTSa, composed by Raphael Diesder. Op.:«7.
(Paine and Hopkins, 69, CnmhiU.)

0. Mozart's twelve Ains, tciUt embellishments, for ihe
Flote, by IXUo. ' Boohs 1 and 2. (Cocks and Co )

7. Twelve Natiokal Ams, vith evAeUithmentt,for

8. Six Airs (y ROHIlll. «iA dk'Ms, £y Ae tame. {PiA-

lished as before!)
0. A Selection o/ .Melodies forihe Flute and ri A.\o-
FoKTB. mlh dUio, bg Ihe tame. No. 1. {Published
atiefira.')

10. ne Seittan Jir, Howe! sweeC heme! viA Intio-
doction and Yariations for Ae FlotC, Ay

Antomo Mi.vASi; Me accoMfwrnswRff Sf

Masi. (Met7ler and Son, 105, Wardmir-tltfet.)
Nos. 1 and 2 are continuations of a work noticed before.

The concertino hy Mr. Nicholson is pn tiy, and free
from all the usual difficulties. The air is " Aure felici, "
not " Fra taiUa angocie." Thi.s mistake is as common a^

No. 4, thoadi a smU book, may be offered to great
players, fiv lha airs an not set wifh a ttndied attandoB

to case, thoi^h they •» w«ll eelected.

No. 5 i< a larger wort, aad requiring abanldwMnt
description of peilbrincii. Wa flannot #nd bmA af

novelty in these doets.

Nus. 7, ami SI are minor publications, and ada^lcd
for learners, or those who arc not much advanced cm the
instrument. The airsan" nil selected with taste.

No. « contains Cease sour funning" only; und
No. 10 is by ihc very ( lever ami surprising little boy,
who has so often aopeared before the public. It shews
ImTjivsij dilknlt far Jha ftil»-|tam

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THE. UARMONIOON.

foreign jnusftcal 3aepoit«

VIENNA.

A* «dr priMipd tbmbm, Dmi Kmminertkor, eootinun elowd,
•ym hm w* IMtg iHd tmj fiwt vorin of ait to boMt of.
• te tw4 4k»yaiM«rili oprainjr nraln it doubtful. M no Anther
'iMalion it ■ndt'of Barbajn'i project of taldof • fhA Inae
of it. Howerfr, hb agvnt ttill remaini here, and ai it ii lup-
poaed, TMit without gome motirp. The preientrepoae ia Iboufht
to be i> ini~rp ri'«!ijti'>n of aniH. in urderto l^aiB IHW to IMraiti
and open tlic rjimpticTi with rfncwod pnerify-

nicrcfiirf, iliiritii; thij interresnuim uf nur Italian theatre,
we hare been obliged to i-nnteiit ourtelres with cnmponitloni of
a secondary nature, with the exetpUm of 7>er Freitehuts,
vlkidi coBtinoM M fmk aod Tifamn «rar. mIUt to
Img an tntirnl, tte ainlnMt omtm^ At maijv cT tke
-whalo opera, ia aliWMt almja mm of aa oattMiMtiB neon.
BeiUn the apirited HMe open La Pofct A Due de FtmUmt,
which i» deierredly becoming a (aruurtte. we have hxd 7)ef-
WnV/ «« tieh Selhst (The Letter to One"« Self.) Somlerbart
Lnunr (The Odd hoili bv Oiiispr : Ad Priir ilr Tnhar^

bjr Riotte ; lirr lyrihirrtauxc.h, (The Kxrhanire of \V'ivr«,; hv
Herold ; Lt HilUl tlr l,otlrrir. Iiy Nicoln Isoiinrtl ; and the
fairv i>pera, io rich in dcnimliunt, KitrnMiimcken, by Leon ile
St. Lubin. Be«i<lei these, we had thit iWMt and tender Idvll,
iMe ttcAwtigerfimtUie, in which the youaf «iafer> MUe.
'BadkaiBaDai dafljr iminwraii aod panan^iia tha yt/uf hflni^
aitknaidm aflkaA^ wiA ineNMlBr wanaA and Mtaff.
BcUDef^ ceiahrated poos. Dtt Wodt* CRit €toelc,) wMdl haa
Blrea<ly tcrred »i a ;^roiind-wi>rk fur aeveral eminent cotnpoter><,
h«« been dramatized, and set to mnsie by Leon de St. Inibiti,
but Hliii h, in spitr i)f the pruMii^in? nature of tlie thrme, has
thi* tinii' found no niirrsp'in'lini.' invpirsfion in thr ntiHii-ian.

LrVpiJaladt Thrnhr. — \ ni'>v hA\ In-rii pr

entitled Jakob in /f'ciii, the inii-ic ijv K»pellinci«t
MQIIer, which oontainn several pleuin? melodies, and vrn% very
-ftraanfaljiveeiTed. Thi» was followed by Dai luttige BHlager,
•a ■Mil opera hjthe mme compofcr, Der liutige Frita (The
Mtiir VMeiMcJ tfw BMei^ hjr Kapdkieiater VeOnri^ and
JUtaua eon IFcMlhiry, the anne by KapeOaieieler Reetr.

ThuUrmn der X^m.— The no*ehy here hea been a prand
TmaanHe opera, founded on SeUneKa eekbrated Ballad, f>er
Kampf mil dm Drachm, (The Kii'lit »ilh the l)r,ii.'iin, ) thr
Diusir by Roth. Director of ^frifii in the ('mirt nf Il;>v:iri;>.
Thii pin-!' I an liuH5t nf i n \</rv •■Inkiii;,'- iiii'lnilic«. thoufh it
abounds with sonic ctfectivc pas^itf^es of li.iriiiuny, illustrative
of the terrific nature of the stibjecl. But we niii»t be allowed
'to remark, that on aabjecta like the preaeot we cannot but
*tUuk all good muiie thrown awaj ; the (aDeriei may applaud,
'tot the Jndkkyt fcw wiU BMNva ia denee over the miaoiiphir-
wu^ tS the wi eaw ea af dw art If a had reeeaHy here •
public display of the abilitiet of tbe popila of our MniDal Con-
aenratorr, in which they di«lin|fid«h«d tiienaelm, to the tatii-
Tnrlioii of a cri-at number of runnoisaeurs .in ! arnateurs of
emincnre ; among whom was the illustrious protector of the
eitabliahment. Hi* Impiria! Hitrhnea; .\rrh-Duke Rudolph,
Cardinal Archblthop nf Olliniitz. Thiiui;h tinging waa not
neglected, and we had sutue exrellent speciinena of no common
jr o fc leacy ia thit branch of the art, yet there wee an erident
' Uaa totaatrMiental mnak ; witness the foUomaf diiplay ^-Orer>
'tait ta JHt Xmat ei JK t* , given widi a* eilet and precttlon
- «at «w M tke ifilniai «r II* MiifMt eiMei ; tlw U(h|f
T(«. IT.

«! ml here,
.T Wrnrel

wroufbt and characteristie overtnre to I>at Nac\Hager im
Grenada, by Kapellmeister TTiBlanf, all the varied thadet of
wliicli were aiiiuiraMy prchcrvcd ; for the violin, one of the most
brilliant variatiuns of Maysedcr ; for the flute, a Rondeau by
KmuliiTe-; t"<-r the .iboe, variations by V^ogl ; for the cliirionette,
a (.'oncerto by Carl Maria von Weber; fur the Bawooiv
tious by Kununer.

The novelties frea oar aiailcal pnee are hut ftv ; i
moat intereitinir. b a BOW let of earialtaaa igr the vieKa bj
Mayaeder. The youaf eonpoeer Schuhcrt aoBllHMa to labour
indefatifably ia the coaporfthHi of eoaft. The tiat offsprin|r
of hb lliacyi aad partieubrly hb cantata Der EAenk'inig, were
tery popuiar, and soote of bit latter productions arc marked
with f,'reiil beai.ty atnl feelin;^. There has alb" n|i|icarc.l .i mass
from the jirn of Diabelli. A new edition is .ilsn ar.n Hniccil of
the whole of the Theoretical Work.* of .'. 'i. A.!)ri Lhtsherger,
to be systeinatirally arrancfed, and illustrated with notes and
observations by K.ipellmeister von Seyfned. The first v(Jaine
IttB already appeared, iind otet with a faToerabic iteeptioab
wIM we haBaa a iMfpf oM^faaaagawhaa aU thewacH
are ambhioue to ha awaltw. wiUiiMt baiaif aay ttiay fanda*
mentally.

Bi:niJ\.

Konifrli'ehr Thratrr. — A neir piece was recently produced here,
entitled Die Heyden Turenne (The Two Turennes, ) the music
by C. Ulun). This little opera is fuitnded on the well-known
anrrdute of Marshal Turenne ; it it full of very jay eal
apirited noaic, and, aided by tite adnirabb aetinf of M. ilebeB>
atelnaad ll]b.]lan(n bBic|rto beeoneafitfawite wilk Oe
piMfe.— Anenr Oa revived pieeca are JMr MSae JliiMifarAk
(The Fair 8h«e-aiah«r,) the mneieby Vmlaaf; and DfeOeMMo
lr[ '.i l ^The Island of Spirits.^ the music by Reiehardt. If these
pii-r< > c.innol boast of firtit-ratc music, at leatt the pleating; airs
coiitiiiiicd in them lerred to awaken ajrreeable recollections in
the minds of amateurs more advanced in a^'e, thonc^h the imprcs-
lion on the public of the day would not, of couri.c, be erjually
stronf;. Ik«idct these, uur usual di>.hes were ag-ain served up,
auion^ which Oer J-'feinchiitz wa« at piquant as ever ,' and we
also Uilened with pleasure to the Joconde a( Isouard, and Dig
ITitner lit Utrlin, by Holtey. Betides tiieae we had Buiel-
dbw'e /«m lb JVrb, and tiaa eUidof thaaweeleet fiuKiee,
ga wte i r ^a eof Hoaert.

The XSnffoliiif/itcAe TAaitor.— The novelty here baa be«
Per Tatueh (Tbe Exchange.) from tbe Freaeb of Cattelli ; the
jiera is marked by several pierrs of a

,1.1. ThU

asiii^ character, .and at a whole tells remarkably
ici - nijil r.rier»l jiirs were encoreil. — 'I'iie birth day

rnll^ic bv
f,'av anil
well. A

of the kin? was celebrated at this theatre with a festii e overture,
compo*ed for the oerasion by F. Stefmeyer, niusic-director of
the ealablithment, which wat followed by a cantata, tlic air and
accatnpaninient of which were much and dcierredly applauded.
After it, came IloHtoi's itoflana te ^^gtrt, whidi oontiauee to
be a great Ibvnarito; hdead,it b-adndiaUjr eait ttoao^MMl^
end waa eertainly aaw e pa rfo i M ed iridi gnatar vigour and aihek
Betides this, we here had the wel>known buffa-iriece, catlUcd
Rnrhiit Pum]irrnicf.rl, by M. Stepncyer, and a drama new to
this place, entitled yerhrrrher, An^rbar, und Hiehtrr, (The
Criminal, Accuser, and .IlhI^'i-, 1 frmii the Italian of Caniitlo
Frederici, the music by C W. Henning-. The piece i* full of
strong stage effects, and the music of a enrreapondin!: character —
marked by powerfnl and exprcaaire hivivtonies, and nnt without
merit in soma of it* aln.

Tiie foundation stone of a ae# bdUluf, latcnded for thf
Academy of Uuiic, wu tetely laM IwVi wWt arery wm»l a(

Digitized by Gopgle

THE HARMONICON.

bMiour OB au occMiuo tu impgrtant to the i&t(i««t« of the art.
An «lof ueot ditooMW w fn am mn i n the 6ttadoa hf
Tntunt 2elt<r.

, The aWiratcU baas-oiocer Fi>clier, kiioiru to yrtW on all
fltt'thalrae of Gerwu/i hudj paid the debt of nature here,
)Bae«M|twerhi*iK«. HebeelefthieaoBltebdrerhlii
tdeaia, for like • bin eoa of the iflb he had nelhfair Ae to
tmpaalh him.

ttURBMKBIiGk

li Aiirji 1 1 .— MeTeihcer. the C efewr ef the eeMwatea // Cr»-
'ciai« in Epitio, arrifed here fime WIm, ud eel oat wain the
next day lor Berlin. We iinderstaild Mb it»J thcrrSeill be

Tfry «hnrt, .i« it is his intcntinn to proeeed le
capital may then boa«t of containing two of
coapoteri Uriof — ^Weber and Mejcrbcer.

BOLOCWA.

Sii,'nor .\i.<lr<'a Nnncini, i»m<-j<<-o </i capetta at L'rbiuo, anJ
^ pnpil ul' the Miuical Lyceum uf that place, where he litudied
Miir the celebrated Padre Mattei, whoM death we announced
la en leel, hei tuuipeinil a ffminii m to the menerjrof bwfrieiui
and neeler, which wa* pcrfornied in the chindh of the Ptdri
Minf/ri CoHvenlualt, anidie epekeAof bj antem ae • verk
jiit|ila;iug jfrcat pailiee will aa aaMatpulie kaivhtfw

TVUK.

Teatro Jngennet. — A ncw operm WW pradoced heit th!(
teatoD, entitled La Fetta Jella Rtrettotcenxa, the moaic by

Sifnor Graiii.I:. which .i!,t;i!in-il ;i fiiv.iur.ihlc r.\.-]itiiHi .-iiiil

introduced tu thin pliicc n nrw loni tlc singer uf tike oaiue >if
Dtto, who i« a native of Tumi, m.A n KpukeBofai peeie i iiiii;
gnat attnetioaa both of penoa and voice.

SrNIGAGUA.
Srmirainide was produced here httelj for the benefit
of that fitToiirite linger Signura Lurcntmni, which both by ita
I Intriniiir meritt and by tlie effective perfemtnce of this
■pliahedUd/.iilcaeedestfeaieljr. Pnpualhnaarenekinc:
ftr tke prodoetlw of Heijwheef'e Oredale. •

BIIFSCIA-

TwB SawiViwai'ifa wM alio giren in tbia town fur the first time,
but not harhif the advantage uf the same effective artiata, was
W* ao iii*«enblx tmumd. hjr the filMk. The aioger M adame
adia haa leaf haa» oo Imt mutical tr»reU
la laMraatwMd mmg m, wad aade her
» to fWeredlC atiwaafeaiU k horaaiiea plate

AMfTERDAM.

On tows, b a mutical point of view, haa been particularly gay
during the bat seaaon. Bciidc* the French Tlieetre. M'lir ri' qonie
very lively lilllc uiuiic.il pieces have been given, tlic Gciman
opcnv luui been \«ry attive. We have been treated w illi iiciirly
the whale range ut'tUe vrurka uf Ruaiini, cluking witli the Zri-
aura ; the great bvourit* of all it e«'ideotIy the Bathiert.
Wc had alio a rented «pera of Kapollmeiiter Pa/er a, entitled
HotMand* FunUm, (the Highland Cbieftaiaa) the poetry by
&hat^ Theiean eeaMpiceeaaf ■Mnik iathiiMA, hut aa
^ahala » eadled >»t Bttie hbwm.

Our aodetf, ealM J U iee em Strfflimtl, haa a]«o been very
•etfteb aod gmfe eotne ef die tdgfaer producti of the German
ieetnnental tcbool with a corrcctneu and apirit h di> ttu-
aaiaiAeia gieat howrar. A cuoatant repetitiua uf »uch u»»tcr'
|im jril imr H to onrta • nutal puUle.

PAUIS.

Maofu. GtamteaiiaWaAtoto^iipMlIf itoto^rto
Spankafa AniMrf GSMdae. Naiar ma theia a lapiaaeitattoB
aunomieed with mare aelie. Al'Ae'hene wen Uowiof : al

the joiirn&U of either party fomiihed an official and dcfaait
paragraph announcing that the work had been revived with
■ew dccunitiotit, dreaaes, and th.tt the representation would
be bimoureJ by the pretence of the moat august per&ouagce.
Ttiis little piece uf efaarUtanerie produced it« effect, and never
did the theatre contain a (reater aateiuUlage of peraoaa. The
Italiaaa could not fail to aeiiat at Madlle. Ciati'a debAt ^
ia i an lun to attnci. If thaie aitiato eeolMl
to the artof ii^i^ ^ilr piitiailiii waU It
alba: bat apaa a PtoaA tfaniik to ah^ mi
act at the tame time, nqeiire tm taleBle. INd lladlla. CM

thine Iriaraph-int in this double trial? No. She realiied MV
hupes, but ju»tiii«d nur friir*. A:> a tingcr. her deb&t WM
tui|ipy ; ai an iii tress ulie pnidiiied little elfett ; lu r t<>uii1''nance
iH drviiid uf aniniatiun ; her pbysiug^nxniy without cxprcs«ia»;
her dcjiortnii-nt withLXil dignity, ami ber lleiibic and light veiee
are mure cakalaUHl to conquer the didicaltiet of an aria, than
to paiat the tnyic paatiuna. The ditettoti uf the operm have
eacritoaaiawJertoeagataMadllt Ctoti.

? Thai

ICabuuu BaAMeaire fimarill heaeil bee takea pleee attba

Acadfmic Ruyale. The Opera wan O/ym/nV, the BaQet
La l>antoman!e. The fir»l ia three atte, the mutic by
Spunliui ; the »-nnl» b\ tbi- Lite DieuUfui and SI. Brifant; the
llallet by C.inlel, and tlic ileiurations by MM. Degolti and
Ciceri. ,\U tlie principal ai-torj »lu> hud retired, and were tbU
on the eaiablithmcut, aMiated. It waa a long-winded itury: we
will be aa brief aa poatibie. I iiare known i^reaentatiue« af
thiadeecriptiuat produce i«ceqj>ta to the aoMttnt of 30.000 1
the pmeat did net preduce half that Buoa ; bat if
unanimuoa afpUan, aod aspieiaiaai ef alMaN
unequirucal} thaciowB placed oa Madaaie BMaduTa (
by I'alma, andaoafimed by general approbation, could i
any coutolation for the abtent e of pecuniary reoouipenie.
hat any repreaeutatlon beeu uiure pnidiicti\ c. I hope that
young artiati who give future hope* uf cxccllcoca will take for
« model thia living one, who itill appeara to unite the energy
and lentibility of a traf^cdku, with the peerar and taste of a
lyric tiuger. But the fate of a wotk depends nut upon aa
actmi. The moiie of tito tew fat aeta wea.dry. but leh^
ha* e esphuned mg naliawata huad; if I euatng aa I
aioa that then an aat anagr aiis where we
gnce, aad tea J ei 'i Mafc IfadHe. Ctoti taagwithi
e^mnoa the'pait ofO^plt. There were tome tiagvUt
in La Dantomeimit ; Veetrtt regained part of hit former vlgear
in the penun of St. ittger. Tlie carriage of Bcaiipr'' waa
original and citmic ; Madlle. Leverd waa graceful and delicate
in ibc part of Mailamt St. Leger. Jlun^. lUillot executed a
lolo upon tlie violin admirably. This rc- union of re-collect«d
and diverse talents, excited a lively interest in the public, and tie
cnthuaiasin wae at ila cUnas, whea Madame dc Dranclw a^
pearcd. supported bf Talaa^ MadBe. Alara, Lays, and othaifi
We poaeirad hf toretotof a y e ai aa af that aha ma
lew aMHfela to tUa fiMtaaiS haancib toaata 1
at takiaf lean «f a gahBa af whom aha had I
idol.

Xt. vun H'tbcr, prc>io«i» to bis departure fur England,
addreised a circular letter tu the directors uf the opera in the

Digitized by Google

milAllMQHICQN.

mpiCttfAf tlwt, in Oie evf nt of 'heir briOf^q^MtUi
B««r open of Okrron, »bont to b« prwlucrd in EiifUnd, ihey
would apply to him for correct copif« of the stwc. The opera
it to b« prodaced in Uenokn)'. immcdiatelf after its apuear-
■nee in Eni^laod. The Couniellor WUUar, • flforf «f' Ifiber,
taw alreadj bagna Uw trana.kti on .

NtW VOHK.

AvTBK the novelty of an Italian opera had irtriMt ib at-
tnetron fur lu becMM IcM and Im. TIm tAmt wu badl>
plaaacd. Hd aot mil iwkd I«to wawdwi. INHMian and
NtwifayB wan At ara^ifi fgrnim, la lotion of Loti.ton :

» tea bMB that on the n'gkt wfcich is your best,
Uw theatre ; for. we arc very irrioiu in Ibi^ city,
'aaddonot go to late ainusemcnti on Saturdays. I have often
»een the pit with not more than thirty persons in it. The
prke* were fixed too high: they were acceded to for awhile,
bat toon were thought exorbitant ; for, to »ay the truth, the
Kew Yurken arc careful of their mon^, aad ha«« fcond out
that a company with solittJe real talent, Ml to expect any.
tfcingr like the MiMfea thata fuU and K«t4«wg«U In England.
The SirnorioaUviqrandiBha^katMrtawdlucfeotryMy,
ihBtiha ia aaiaitrtiaB afSipiors Parta. 8%iiar Garcia ha«
paaiad Ik beat dajs, and b conitantly HI ; of the Signora hi«
wife the !eH taid the betlcr , nnd the ton it a hf.iry person.
|t i( found out that these arc all SpaiiianU, and the Spanish
araaot uveivpapuUr iK-re. The //ariiVre did rer)- well : Tan-
aruli wa« not auiii* ; but Otetto duet otit do. It ii tbu* i;ot
up : OtrUu, Gnrcia ; Kimirt, An^ritaoi ; lago, Garcia, jun. ;

Chvelii ; RtUrig*. Mad. Baibicfe; X>eM<«MMC, Sif-
torin Gaida ; EmtUm, Sif nam Oania.
. AnMher of BaMua apana U «■ (h» MMtel tall 4a sot
ftiakthatitwU t i i iii, WanwktobaaraaaHafUMVHM
Wtan«lllMibi«Mf]r*bi|te. except adrs.
af tta fM aaaie aT Moiart : for thou^
i ia TCIjr pretty and (fay, we like Taiiefy aa well aa yo*
4dh BuNlfc. The beat-infonnol ^aj, however, tliat thi» com-
pan/ ia nut equal to that comp.«pr « «-ork«. Tbu are iniirh
diaappointed. %o arc we. Ttjey liavc been invil«d to New
Orlcaut. and al»o t.i Jli xico, aad it ia believed that they will
(o to the Utter pUoc when thair aafafanent hcia b oaar ; w
pcriupa before ; for jro« an ami that ow ihaalrital aftin
aiwiagmtdifienltica. •••••••

raurr ooMCEiT.—

■ '""^{jjjj** »/ CiMMSMiAfiv. H tJiumU), March

ACT I.

I Chora*.!

a: ChMlaaagiorat.
k llMHhaOetty. J

Boog. Am. ana, ]r« brave. > UMHMMfk)
Chorus. We runii-. J
ttUx. When wiorii brrarhc- loP.
ObamtoSib. (OrnnJ.)
Smb. Let the brMit wrraphim {Smmt%^
1Mb XXXIV. (!f.V.) ThnMfhaU '
t»ait. My arm* ! ^
SoB!^. Soiini) nn nlfirinfv
Cdtv-i, V* f. h.-ir. y

Ghana. ThaUnlhaih prepaariL

Btutiti.

Oreituieand MitiMt.
Sung. Vrnjo a voi.
Ttio. Fairn i* th.v throne.
Moiett. Glory, piiiie, and adai a tlaa.

SoTif. O fjofd liare metry.

Chorus. For unio u» » Child. 1
Paxluml Sjvniphonv. I
Recii. acc. I'hcrt- were aliepbefdt. f
Chonia. Glory to God. J
Quintetto. Uoniiwce. ■(Ftarna.)
Uouhic Cborut. The Lord iball reign, [iirael in Egypt.) HmnkL

Wn have now m fully and rapeatedly eri tl i i bad thaaa ftdkf
tnitum, aad fha mfcia w ia tfaamaelvei, that oar (eadera «n
rcatfil/ cuMaa oar (rtatiiy bimcIi into detail as bitboM^
aadta w i l a l ed^ watmt, with aarnaMrkt only onaueb piaa*
aa BHjr hjr claim to novelty.

WMoat precuminf to awert poaitlrely that <Hir oliMn'attonl
on former ocra>ions have been the niciiiis nl' ifuliicinji; the noble
Directors to take the iiilriHlnction of noTcIf? into conatderation,
we may at leatt vent jrc (i. hope thit Hiev have not Ijern with,
out effect ; fur we hail in thi* first (Concert, the propitioui dawn
«f acbaage, and preset that, long before the cloae of the tea*
ma, wa ahall have to auaaoM the mid<daj of iatpaovaateBA,

We were altuyet)iereiBaadla|lyf ratliid wilt IbaparfBiBai— a
of thia cf«i^« for lhM|jh iIm iU ttnjf pmlltf p iBd wa faiatad;
uu pait of it waatimoaM. Ac lombra paatat taaia axcepla^
far the introduction of wUch tbendoet not appaattaleaaaaaan
of any kind to be urged. Min W{lk1nMii*i appearaaoa again
we were quite unprepared for ; iiu\ Ihi'ii, f<ir bi-r introductory
sonif — Omtiai agimut, — one inure urisiiitril to her ;ibility coiild
not have been ehoHen. Phillijn was rorrerf and tustefnl in
"Ami, re brave.'" but we hope next time to hciir him, nnd see
him, too, a little more animated ;— let him be^va^e of the
ni'ghf-eap. — Mi»» Stepheni'l "Seraphim" is not so "bright"'
as Mrs. Salmon i. The ctioin was not a gxMxi one.

Madame Caraduri Allan eicr anat M^kt, when ^
b pRfenad 4o physical powir. Her latlMln otmH 1
far OMNv dhclif^r Mvr ^ Mv'hw PMa ; r
oot ao weV, and eoftahiljr not better.

We now Come to a mairnificent novelty of Oraiin, but it must
be repeated before it can be duly appreciitted. The perfomier*
executed it very well <i« a first limr : but eoniii'i-fc ^n^^tire
remains Btill to be done. The frr^iie is inconipnT.ihlv tin'-, and
remind) u« a little of our favourite l>r. Croft.

Madame Caradoriwai quit* at bone in GogMmfa
ibe warbled it dellghtfalf, am)
of their tatiafac1i«i<—

And HOW *• Land «a ftM Oadir aa aU CyiMlne aiddn
Moiart appcan!— Not that ba hat naC aypaarai Mhi«b lot
nevar bcnne on hit grrat lane Ferhapi fbare nmr wattf
German composer who did not intrtnlure in his miso m^ute
operatical pa<sa;'ei! — but the Germnnsarc partial to iti^trurneutal
inioir, and imii 't'c in if tin", iiiuiit. Jforart h:i«, ateordlnrrlv, in
the sliipendou* iMrupositiou now to be mentioned, dealt rather
too niui h in deronitinn of .lerompanimcnf, but he ha"! heen lets
prnfuise perhaps than an/of biscoBtemponnrin woqid hare proved :
and then the illlHI 4hUfei of Ua hanonie* all of them,
though lick aavnaxpectcdbiniipHlinBlfoirteet; and the butalc
that oecaatooaUj thrill amf aerre b tha tplMt, ikm
hOmtf tathe mltttta qacstion, and fntf tihW rijceMoa te
hat lb Aa ahoadanes of aor enjoyment t

Ml«» Wflktnson'a * O Lord ; have merry" wn« very tastefulTy
and feetinsrly siinsr ; — In this the did herself justice, and jtistii-e
was done to hrr in thi- rhcicc.

Wc cannot conclude without expreiaiog our r^ret thstEngllah

N 9

Digitized by Google

THE HARMONICON.

wo nil hare been put to the m/in rnMsii : tlic cfTcit i« coruiderabljr
Wnkmied hj thii unaeecssary translntinn from the (H-i{iniU Latin ;
Mdudw Italitn and Latin langfiiagts are occatiunall; introduced,
WCtt ■•• M luaoa far rcjcctinf Uem ia piccn vhtre Otej,

SECOND CONCERT.--rn<<rr(Avt/>rar<4V»i<>/(A« Kjul of Dsnnr.
fir ikB DIMM 4f QiMMiBOK, ryrtUndag, March M« WAt 1«6.

Act L

Onitaie- ('
(MBt Bmre JoDMiuo.

8uf. lb uraetertharmwjr.i (^■A)

Cborat. O fatal day. J

Sot^. Parto. ma tu. (XsCCMMMMrft fM*.)

Trio aDd (.Imcui. Sowd Ika load timbivl.

.4vlion.

Concerto I Itli-
Sonc;. Dove tc'u

doff toGod.

(Radelimia.)

(/«. <« Mnr*^)

Gertuniani- Corrlli,
Handel

Mmmllt

Aevll.

(J/,'..K,,^.>

Overtiin- und ChwOlM,
Soiifr llnnotir and anM
ChoriK. r.iAupjourl
tioog. \ o wlciiodo.
CAoccrto 4th.
8on^. Quel Bricconcct.
Chnnia. Tr gloricMiit. (TV Jhum.)

BcciLocc. \e aacrrd prieila. I < >._iii..& ^

Smb. r«.w«u 7. UbW iJ*pi>t*^)

Jnmrlti.

HamUt.
ymet.

Orowi.

Afktr Ik* tml m MMirnd on nredsMdij Ih^ it WM afifeNMtt
iliypnlirtmn to iaw our pleaainf hofcwiooB *'i^lBflM

bad ;"— yet so, alai t it traa. Madiune Candorf dM htr leit for
lf<n«rt, but tliia fine, majMtic aria !« beyond berptnren: and

whatever nf the pleaain^ had been left on our minds liy Mozart,
wa« diiiuf>atr\l in a inuiiicnt by " the loml timbrel " that
followed. Il.id " Duve si'i ' been leauMltuir.tbly suiiir, mc should
hare paittcd over it of courae aa part of \\vt old tlori/, but wc
rejoice to say that we never heani the air more tMt«ftilly and
fcrlingljr pwrfanaed; the esMutioa altofethcr wm perfae^ ud
«• wmd/ Mafntiilate Mi« WUMnm upon hu Midmt»
pnMMBkj— kM niee b rt tongw, •be ik^p with nan «mi>
idnM^andif grmaad tender slmmalmytNleelidfiirlar,
dw will always be heard with delight.

Haitelio'it quartctt is a pleating couipnsllion, and every juitice
WH dwne to it by the performent, and tliat is all we can say:
there b nuthinef particularly striking .ibiril it, arcunJIn;^ to our
feelings.

Our friend i'liiilip* was nut sutfiiicnlly stiiiaatcd in "Honour
andAriua" — The voice may want tirength, but tlie •enliineot
can alway* be expreaaed by adopting a ipiriled atyle, and iben
the wcaluicai of the mere organ will not be pertxivcd.

Madame Canderi'e F» talemmdo did not gire ut qiite to tmk
pliMiiraaaherfinitiiri kqtiiUlitwitnaalnMtedpeifcnHMe.
We undaaklM abwtlOM WlBdMon tn Acr ■eeimd ; tbongK in
trallit we wm not aindk itnuk witit the long itielf; there is
Dotliiog remarkable in it. The M ilonj now ^cwa .m, an I in
CODcluded, as usual, with one of the finest pifH-ps nf the piiicr-
Iniament. It is nxt nuiy mortifying to find a siililiiui' fjiii[Mj<iiiijii
placed In such a situatiun, but » e put it for tlic cun»ideratiun of
noble liircctort, ubrlhi*r it bi- <piit« xi dccoroul to see to many
<iiatia|uidied ladies and g:eatJ«»eD, and ail, tre will jmniii.

ttvnini; their backs upon, and iVtmAif m it
n> pim ef ■mis pcnilivlir defigtfalto tttir

Act I.

Otrerime and Dead March. (.';<tu/.) llamUU-

Trio and Ch». Sec the conqoVii^. (Jiulat Maec.) 'fimM
Rpcii. <) 1< < c'ti-mal. } / 1 J tt %. „

Sons. Frunwiaghiy ktoga. t UK*!* 4rnBe,J mmm .

Pmlm XVIII. ( X/athnc't Ttinr.) Or. CNI^

Soog. Why do the nations ( VntroA.) ,

Concerto 4lh. (fnrmtAr TWm.)

Nntioaal Hymn. Laid of tveav^
RooBd. wind, gcnthi emgiaen.

Recil. aec. Tiainaillo.l > »

Song. Onbraadorau. f l«"«e • innirij
Iteca.ace. . Bat fatigbt OeciUn*)
'AirandOknndCho. Asfeon. >

Act D.

Orerture to Henry the Foarth.
Duetto. Un fliime di pace.
Ode. nieil pair of Sireni,

Kccil. Alas' I flivl l
Souk, H" icuildfjj Ijliod.J
Selection (rom a iiervice.
Concerto 9th,

Glee. Tit the laal toce ofioe
Reeir. Kccomiaota. I
f reghiera. Gran Diu I \
Anthem. Sine hdIu t hxI.

(Antaw XXr/,)

Afartwt.
itfnMsils*
». AnM.

UmM.
Afamrl.

(JHMJMn^

Dr. Crnft.

Alaa f we fear for our prediction t Tlte dawn of uovelty is
beginning to disappear, inatead of expand, though Oreatertz It
resolved to have it in one shape or anotlier, and we thank hia
not only lor the tnnnpet additions to the " Dead March," which
eontiibaie vaiy aaaA to its gnwdear and aiUitafj charaeKr, hat
also foe the jntfoduclisa of Ihsat, wHh mhat wind t um M a nl a, fas
"The Compierinr Hm.* . tn tht i tu m m^ tt these pleees how.
ever, he has, if we ndstalM ■«*; subttltnleJ an orfan accompa>
niment to the flutes, for the bassoon. The elTect was rertainly
luournful, but we are not prepared to give it the preference over
the rich tonps of Mafkint n^li Ity-the-bye, it h comical I'li.nit'li
that old Jenkinson won't beat bis drunu when he is bid. The
voices urge him strongly, " Bound your trumpets, beat fOW
dnims"— but no— they were mute as "Lover's late."

Mlas Wilkinson pleases us more and nuire. With the ttroagf
iaipreiiiaw U Mi*. SafaDom'a exeellenee la " Froet miffaiy
Kingp^" wa wai« atUl highly gntlitd bjr thli young lady'*
performance. Her nin b «anaidM% inpnmd in
she sings with man antiHitloa, and better tn tnne ; hut she 1
be more mixful to pronuuttcc her words ; — she hjis noti
yi t ti> tlio bi;;h excellence of Ilaodel't recital ire ; but she nay,
aii'l will, if she persevere in her present career.

I'hiliips sung " Why do the Nations" very chastely and
correctly.

Now, as to the National Hymn— who claims tlie mighty pra>
duction ? — With alt our eyes and ears 'we cannot discover te
extnKinlinai7aMril.norwiiyai>ainchdniHadnfaBd Inmpettivf
baa boaa eipandid apiM it. Hhj anj it fa Oe eompHiliaa af
Haydi^ ilBi^ ba«-bat^ Mlf, halwa bmid it in Rowlaad
HIirt labemaia*, with simply (he erifaa aeeempaDying tta
cliildrcn's voices, »c should have liked if n great deal (>ctter.

< ramer'fi perfonnance of the slow niovcnicnt in 51artini's
toriicrto, is imc uf tlir rich traits in these concerts, to which
there isnorieval; — he was more delicious this evening than
ever. *' Wind, gentle EverfrcL-n ire will not quarrel with,
because we hope it is to supercede either " I1ie Shepherds,"
or "The cruel Tjiaat."— After all, it ii, in its way. a very
heanUrul Bttk §m, muk "Tba Sj|i«m ttaaa" did It aivl*
joaliee^

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TUB HARMOl^IGOK.

GUatlori gwre u audi pleMOra in Oii{Iieliii!'t Air ; the ion;
iiMlf iivRj depwt, wilk » ridi aad AoviBf Mc<ni|Hutiacnt,
awltlMaAeDcritislMMdLllMaMnilwaplHM. Brtltwai
M4 to i^f Ihk afltr PMb

Ma Mqihm «M in I4|h valM in •* BHkkt OtdKi. -> «lricb
■be nevar wiihM wMi wmt aaiHitiaii. To do tojattk«, clie
M «lir«^ M MilMit to Mtiafaction, tlut h fa not her fault
if ■lif' evrr fail in 111*- allcinpt.

After the nW Mory uf Henry the Fourth, in the Sfcitnd Act,
MB^iAiiii' ('arailiiri .unl .Miss Wilkinion fiivnurc l us witli n durt
from Marrello's pnahin, and if '* brerity \k the soul of Aarmony"
u well M of " wit,'' thit will all Roul ! In truth there wm nothing
to blame, and very little to prmt«e in it, and it prepared ui for
tke fuller enjoyment of the tmljr tublime production that
it. It wuM Mt pMtiW/ Iwt* tatn mom tm^

itMpdVi AMjIt Mt ^iMb Id nfdigaiipMt it|H
kefcra;— tin "BoKdichir mi- Aim W

WelH
part) ■« flM Om

were beaatifully executed, but the ch«ruit<es were, we thMijrht,
rather ineffectifc in themielrei, and ao rery imperfectly sun|f,
that, had it not been fur tlie »kill and attention of Mr. Oreatorex,
the whole choir n«i»t have given way, and " Ohaoa worse con-
founded" have ensued. — Where lie* the bUme here? It is not
for us to haiar<t aa opinion ; — however, an iaaccurate and
■lorenly performaoce of any kind at tka Andent Coooerts «tight
mtUfht; Midwn lamcBt'it tkaaMtMtlM|nMnt«eeuiatt,
wham Ow CMapmr k McMt.
CSMwlHhMCMd mag, Hwigh awt ni a Aiikr, 4U not
»atw«cllMllMtnt: nod m fbrJh-.OnATtnllMai, we
p is lo hniMMur to (w« onr 6mek ttpom U, rnti togl^ then'
hUf •MrdapHtun, before iu coanneneeHCRl,

FIRST CONCERT, MoMbjr, Febcooiy 91, m«.
Act I.

ttafDoia in D 4.

^■Mtotlo, Madame Carednri Allan, SignorOoriooi,

Stpior Ue Ik'qnii, nod Mr. Phillipi, "DiM Mi-
racno" {Ln f 'lUtin&ita raptta\ . • • •

CoBcrrto, Piano-fortK, Mr. Cramer . .

AriaiSigaor^Corionii'Va loaingaado^ .

Oveclurt, Fmml

Act II.

SinCMua ia C

f mloMP*

Tnlrodaclion and Variations, Fhtina PrineipaU,
Mr. Kiesewcuar (never perfonnc<l in this country)

I>aeUo, Madume Curoduri Allan and !Sigi>or I>p

Bcf ni», " fVii (.i/r^(ft" ..... iViMftr.

Overtarr, Dnu Jtturntrt .... ChrrtUtini.

r.Mr.r.

Dfatart.

What we hare before auertcd relatirely to the AtRicnt and
Philharmonic concerts, we imjw repeat, cmphatit.Tlly ; natnply,
that they nuiit be loulii-J up to for the prescrvutsun of a true
taste in imisic.il cmrpohiu.inj. It is to be hoped tliereforc tlwt
the nianiifrrs ot" them rmt allniv themselves to be influen<'ed
by prrjiidirc, tirayed by iotcieat, or led by fashion to depart
from the priociptet OR wUtk IhiM petfetiMaeec were fooaded,
for their example Kwrem^ la • giMil wmmut, Oe ontaiki it
urn dMatrea, and tho alU mm trnm*^ ■ewHop in Ihi

and

•rtbe AMini

cherish the fMhf 6r idtallle muate, by I
their stores, the line maase* of Periroleti, Leo, D'Atterfn,
others un which the moderns bare founded their taste, and tet
then ihew whet tut neulied from the itudr of Mch uodab, by
~ ot Htfdn ani MMBt, tupfMrtad hy
btmAfuteokn. Ut,
at Ibe tame tinte, tte Aneiora «t flke PUlhnmionie Sacia^
devote more ittlentiun to vikxI compositions, alnl'nl;^t Mliichwa
hIuII hope to hear nimJern mr/rcraux il' micmMc jud cliurtinca
of real iiieril. executed M'itli tli.u cnm-dnc^s which only can be
attained by patient ami repeated trial?. Let them enp^a
proper siu^^crs, uud nut pemiit titesc either to name their owa
pieces, or to reflate the liuur and duration of rehoofaalb
Sin|;ei«, Italian ones particularly, if left to choose for theM(lfi%
toa oAaa aalact what thaj iaagiaa will diapbf their «*n yawaiBk
Nat 1M aMMr ^ Boai | iaai r, to lia haal aAmtafat «^
hHMMtahniya much re^id for the art, or feritaf fw Ml totk
olUn canwlt only a temporary intereet by aiMahlailag toiaaU-
ini." fashion. This ever was, and most likely erer will be, the
ca«)' ; it thorc fore behoves tJ>o»e in auUiority to check such pro-
peii!iilic». to t otisiJi r tlie reputation uf the performer as invnhed
iu the music perliinni^il, to feel that the primary duty uf mana-
gers of inilcpcniirni i ink t rts, is Ut maintain and iraprore niualai,
tlien to act with impartiality, cvurteousaess, and firmness.

litis first oonoert uf the season was, take it altogether,.
excaUoBt ; Ibe eympliaajr bjr tteaibcrf , a nry I
aiad saw to tba audiama, ww parfofvcd wifttW i
ctahw. Baatbofca't in o, a greet fafourito wUi t mfi m ^
dcarijr Issca nothlaf in effect by being prodaaad aaaoally : wa.
howeref agree with our coneepamlent below, ttatht the openinf
of the laet movement all the lint vioHai thould play : the author

in his score lias written li'.llni, ii;,i

jirinrtpuli

With

rr»[H"ct U> the time, we are aUu im linid tu think tliat he is
rii^^lit: but this ia a point im whii h no dilfcrcnrc of opinion
uii^ht to be anffered to exist. Beethoven himself has aiwrlttd
each moremant by the uetronome ; it is therefore aaparlanUB
if hia directions era not oibejred to the very letter.

The orertnra to Bpahi^ opera, Fauit, u more profound than.
cCielira; at laait to thaaa who have only aoae heart U. It

iUelf into n short latfo higtaaliiy In n flat^ bat wUeh qaieUy
utodulaiei into keys that the eye, with the score before it, ntay

trju-'e, but thr uii.i.i.s;HtoJ car laniiot so easily fulloii-. 'I'lic
allerro six^ediK n'l urs, tlie volume of touud aui^'nicnlb, ami .in.
.nlir!i|it 1 loM- liMvfs u^ ill a utate of perplexing- doubt.

'I'be mu»t iutcrestiuK part uf tliis concert was Mozart's con-
certo in a flat,* perfomed In an uncommonly beautiful auA
judicious manner by Mr. Cramer. The leait delif htful in oar
ettiaiatiM, dmigh It abialned the loudest applauiai waa Mr.
Kkeaw aaaiy arwU lM ff M.lia|aadat'a-wMiia>lat.. lapoiat
ora«aeatfaa,iiMU[veaiddWMaa paifoet ttaa ifala, thangh
there was more tt 1ri«k |i It ttaa bttaaiM a mmn of Mr. K.'a
undoubted ability : but the uuite of flkia eemposer is only lit for
tlui!-!' »'1jo ^^'llu!J be as easily ]ilc.i.j'cl » ith a coiiiitrv-iiaB18l
1 inc. --a hull' jctkinjr. much brilliancy, and j;re;>t rapnliiv.

'I'lic i li't'niit i|iiaiti ttol MoLtrt— one uf those eoinpotilioas
witH which he strengthened another person's weak u^iera — waa
admirably song. So was Kossini's expressive Aria. The duct
of Moica is oM of iIm few thiuft that are at once oontic.
and muiicali |am af tbii an aiftodlBfly j ~ ~

• For a review of this> <
last aamfaer, pa(a u.

Iforiha

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ITmtrr.

Cherubini.

mCOm OOHCB&T.

ACT I.

$l(i>Bia,NA>It

Aria. Mr. Sipitt "ll mio Icmio" fit Dm Otatawmll
OMetHMNeiChrimrt. Hom.iiDd Banoen, Mrm*.
. immm91m.miUatke ....
Duetto, "Ti vffKo," Min Gooddl MwIms

Cotn^ (II Ralto di ProterpimtJ .
Orcrlorc, .innrmiii

Act IL

Siafonia in B flnt . •

Tarmitn, " O dolrc o cam iManla,'* Miw GoodaN^
Madante Cumei;*, and Mr. Sapio ( QT Oratwi) •
Concafto Vinlitiu, M. Bclltm • • t • KimImi^
Aria, •'Una vocr poco fi," Ibdam* Oenwgt fK

. JtarWnv -(( Sii i-jliii) nauhti.

Leadu, Mr. Spagaoktti.— CoaducUtr, Mr. iiitkwp.
Vto pM Amb «k» M to fte MtMi oMcnt wttAJ^I

thougli, rxi I'pt the concCTt»iit«k lilt tdeition was well Milt;
tMit the perfomiiinre w?i» »iirh as w« arr accustomed to hear at
benefiU which li.ivc no nln Mrsiils, 1 where a wunt of di«-
eipGiM most ooraiuonK prcrniiii. Haydn's sToiphonr, the
fllmalh of Salvmon*s set, ii, eomparalirelv, tittle known, and,
Htm^mli ^luXtutliiKn of tite twdre, iiachaniiing com-
ii Bt b lo Um opMon of matj alnaat
The ovRtnm •^MnvM need ooly be Mm-
I (Mto T am % hm h rmtAMf origfaial
■«t |wrt flf the baal «M
0k unlou, OM blamlmt "eomin vaA leavcm dl the idt,"
. Tlia eoacertaiite cannot b« too itron^ly repmbated: the
want of Ao«e in iiae thirtr rear* a^o. m\t^i riw from their ashet
t» dadlantfe coinpetitinn with it. Who is Mr. Cnisscll ? — and
«iio k Mr. Merclte ? and what were the other two about, that
they did not rehearse the piece mure dtligonlly, aid it hwt give
ll llw ohaarf of a decent performance ?
Mr. Safia ** " <"'o it'<»rrr m V h« had been running
ktodeliwMaowBaMnagak till he had loot
MIh Oaafcll imllf AmU ilngr
■nfiiab muBc ; and MadaM OofM|pi eiifht to coatat haraelf
to tt»e cone crt-r««in. Her »ai charmingljr pcrliinMd.

Thi- r.iiiii'r«n of Krtut/cr, a<'n (U■n.^tc« ;i rii h invention, united t<» grc*' practical
feMwIadge, and wan plnycd with a feeling, a firmnc«!i, a Icnirthor
^MP^MidahfeadMloftoiie, which, in these i^uraA-rnir rli v. were
Mneapeated as delirhtlU. M. Bellon it already a hii;hly distin-
riibad diaeiple of that Im wheal gf the vfoBn which boatts of

I that ha

in the *h>>rt space vf foiir vcRm, to stand furwartl and be ac-
Imowlt-ilsMi ai one of the ffreatPSl violinitts of the day. His
hi'tiirr i» rather curions : he was » rr«prrtablc tra Jcsnsan in
Paris, and was offered a violin In barter for onp of his cnm-
tiedities, an umbrella. Hr agreed to tlie cxch.-in^e, acquired
aoaw Htlla havwledfe of die instrument, became a papil of
Kinaliwr, WM aeeeiited though beyond the preecribed age — at
.ahdkM

T» ft* Esrro r of the Hasmokicov.

Ibj— Ha cMMrtt «r the PaiuuaiioaM Bocutt bare ar-

- ■ - AWih

treat ta dw lo«ani»lMiMllH|HlHM»ie, sayithiBy ia the

Piaoo-forta Concerto of Meeatt, to adnirabiy executed by Mr. J.

Cramer. B it it ii nut at present my ititentiun to trouble you
with an inqiiir) iutu the merits, "f tlic \ ariuuii pieces, but to
offer a few rcmarlu un the manner of their performaQce ; in
doing which, it may be necessary to uhirrve, injustice to Ibk
Society, lluit, at with other institutiont fur the support of art.
(lie Bearer it appmacben perfection, the atore ayfaauM viil Ite
inoit tifflillg blemishes become. Thus an ooeaaiaMl WMrt af
or aiiicoBcaplMB of the tiiHi ia aaih a 4
SyaVhony ia C win ha Ihi I
by such an ercbeatra. In thie eoat|Miaition tha
leaden too gaaerally seem to imagine that it cannot be t!^rm
u ith .< ).iilh>'ient degree of cncri^y and spirit, unless played wMt
a rapidity tliat b;iSlct every eiiiJe-ivour at articuiatiun in the
passages; for the majority of tin' Ij.uid are utterly ineapable of
executing tlie notes in ib« time ivow adopted. I'his waa
gfakiiaglyavidaatiatbe first alUgrotjS the above Sy
which i( icarecly evef executed with preciaioa. The i
bo obeerred with respect to Uk leAar^e, a«d tola tha 4
whan iMliad af that moaih and pfauid oflfaat
teadad aa a aaBtnwt la the qwabr ■awwaii, fhaaarlaia*
tigued by the honiad inpatiaMa wUoh «aa ftm—tly de p iiia t
each bar of some portion of its raJue, and diiree it into the sne-
cerdiiig' one before its time. iMiimni r, 1 ( annn* lufticii ntiv de-
precate the barbariMit custom m universally udn|i(cil, in Jirect
hostility to the uu I lii>r!> intent ion. or.rn«i^inirinto the mot Is oof the
last mof ement witli one ilddle, iosteaii of advancing by the grand
gigantic step, which is »u imposing when taken by all tlw I
violins. 1 aa the flNra at a kiat la acc4Mnt far aa
an absurdity, wbea I aaMMar ttal thai* caacaitawi
initituled Aw the ezpicai. pttrpoae of reatatiaf fHtranmlal
mnric to Hi pnipea laa^ -aad-«( gMag^^fai Oa amt pcrtbet
manner. It ia recorded of the performaneea at the Abbey in
commemoration of Handel, (hat after the hand had tnned, they
left the inttruuirntq in the orchestra to be ready, on the emning
in of majesty, to br^in at a moment's notice with Ilandel'i " God
save the King," and that durji.; ihi' absence of the performer*,
Joah Bates deputed a cuinpcleiil juilgc to soap the bows of thoao
whom he deemed the leaat trustworthy. I hare also beard, that
when the HARuoxtc CoNraRTs, — composed of amateur*,
of various abilities — were formerly held at the London TaTCiii^
the libnriaa pnakatly tmita the void " Snb" aadat all thoea
paaaafca which he Oought tha aiaM erilteaL H«He, perhape.
haa arisen the abore-mentioned aaoaialy.

TTm Second Concert has already been sererrly eritkieed la a'
diiily jniirlial, and I Ihinl; imt 'vith strict justice ; fipriiiinh blame
is hcipcil on .Mr. .Meri ki', wija, vvlu-ldcr p<>»*o»»iiif,' hTcat talent
or otbcrH'Ue, n-.\.>i ccrtiiiiily iiu; tlic nii.v <>\\r lle^^•rvitll^ of censure
in the con<Trtantc by Cru\»tt, than which we luive scldimi heard
aaiore contemptible ('oirtpo»ition. The Symphonies suffered
fimterially from the causes already mentioned, eqwciall; the lint
allrgn of Haydn, No. II, ait well as the scAcrxe, and biat bmhw-
ment of Beathewa'e in B lat: tha tiM of 'lii 'ritlir ii ■iiitii
Megr* nen trffi tha paieaget thieughaal aaa af s aiaa-
matic nature, distributed equally asnaag the baaata and TioItna»
and when played, or rather attempted, ^resfMsfaM, beeome a
limping race, and m^ike im l.inicnt the error in judc^inent of those
wImjsc dcpartiBCtii it ouplit to be to rccuiato thp«c matters,
(whether leaders or conuuclurs, we will not pri ...Liru!^ t..i Jetenninc)
by which disappointment and mortification are excited instead of
that intellectual delight which such ainaic it capahie of aflbs4iof .

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< ■ nUKt QOHCBRT, M«trfar» MtMb Ml.

PAKT PIMT.

^nfonis in D .

Dnrlto, from tlif Opm of K/ua <• datufif), Si^nor
Corioni aod Sipior Prllrprim ....
ed Aii«> coo Cof i, bam Um Opuk oC JTm),

Cm o OuMla TrtoallMoie, Uroii Am Opara of CMih

irirv, Madame Bonini and SignOT Vellnll .
Daatto, for two Tmmpct*, from (he Op«M i<Wif>

Unw ta Paiatira, Signori GarolNiti
Sccna ed Aria, con Coro, from the Opera of Jmlra-
niea, Signor Velluti ......

~eHo.lVamtlMOpmorQMM» L

iVtrcinianie.

PAKT aBCOKO.

Inlrix<iiil<.<n(' an lVar. Viotino, Mr. Ki< ««iHii r
Ana, Mn-' I'^i'iri," Vtffo la s»U u f il in-.r,',-, "
DaeUo, M mi StvphcM ni Stgnor de UcsaUi " Coo

Peoo ti Aria, cob Coto, from the Opem of Bat»-

nallitiRomti.y\:.n-a.':am . . . .

Sntetto, from t)m i)i>rrii of Matildn <U ShatttM,
Mill Paton, M^d.aiiLf [vnnmi, Monsieur li«^r(a,
Sif.De Bf^nis, Mr. Phillij ». ur..J Si^. Pellegrini

Aria, MiMStepbeaa.from ttie Opera of Orfte, " Cbe

Riaale, eon Com, lifMii ih* Opm of Am Mmimm^

Mil* Slt-ptieni. Madame lloitoi, Min PMMi

AfaMMfar.

Cn - •

8i|jfnor Ciinom, Si[;aor De Blgnil^

gnoifaodMi. Pbillip* ifoMrt.

Leader, Mr. Sr\aNoi.ETTI.
CoDduetof.Or. CaoTCH.

Thi abore It a tjwiifnU of the fint concert of a »eri«« of m,

to !>c L'lvrn thit fic.ABcin on thi" alti-rmtr Moiulfiv*. at thr irann-
Wr Sipi iri' Rooms, by the Itoval Ai-iidciny of .Musir. Fur this
piiT[ni-.' tlif irri'ater p.irt of thr f'luihannonic baml is eniriiFiMl.
au|5inL-ntf(] by some of the piipiU of the Academjr, tof ether with
a loni; list of the brst siii^rn, En^liab and Italian, that ciraid
be obtained. 1'he tubxription la npoB nthir • maipitgeent
«■!•, AiurinrineM ; aad tboufrb, throagilkeiMnmial tnfloence
of »o respectable a Commillee of M«nii|^meiit at the fullowinsr.

Lord Itureberab, Chainntm.

MofCtoMleo.

Veilefnih.

T*rtl Saltonn.

lit. lion. Sir U. Warreoder, Bt.
Rt. Uon.Sir G. Ouielev, Bart.

Sir J. Murrav, Bt. K.G.O.
«r A.^.a iiMd.K4:j.
8|p GewKa Cleihf B|»

Hon. A. MardonaU.
Count -St. Antonio.
Ilcor; Sanford, Edi.

m loag aad bfiiliaat liit haa been obtained fur the preeent *ea-
aoB, yet we caonot auppoie that the tame lucceti is to be ex-
pected in future. It ii true, that the terms of aduiiitiuo to the
Ancient Couci rt« are in tlie lainc pruportiun; but tlwae hare
long been e>,labU(hcd, are habitually attended ; the lubwriptioM
P»" ^'uiost frulu feneration to feneration ; the inutic, tbougb
aiot faikiowble. i« f eneralljr fiwd— ia what aUpw^ of Imlll^
and cultirated taste miut adnire. in ipite of a ft«r ywlw liiin,
aad oUmt ontranlj piewt, (bat now and then an iatfadaaed
toMbtoOooflMn, aratpofartaofreiioM; and. wlMbnoK
taAtpurpoae tinn difbeiet^ thucbManedWeabrlnfcMiBf
• Mjberription.

In a ronrrrt for live iiiji]i.irt <if i,n r^^t;tllt!ull rievoled to the
eAwMlon of Knifiisli mii«iii«ns, we ili'l expect to find at leaat
ooe piere by » native ritnipnser ; »oiiir n i ork that wu'ild
enable the pupils fo «ay, " lueh a diMinctiou umy be oar reward
a bimdrvd jmrn kenee." Bat, alaa! Enjl.ind uiuat tee ker
PweiU. her Ane, her Bajrcc. Cooke. Wcbb«b 9t»tkmA

—To Ikaaa of Baadel, Hajda, Moan^ Bw l h owa, aad many
odiert, ihe nraat boar ; but to be kkbad ^ the hoof of a

Piivcai. a XlcoUni, a Mi n 1 1 i •( mil a Oencrali!

The cncaji'ment of «n h-i'm,, ,..itne »in?er», i* a ^reat preaf
of llio j'lili.'iiieiit I.t till' ( ndiihitt'V ■ for. Rntunfit other n aKm j
it will operate a« a puiretful enroura^rment to the pupils.

The tymffcay of B aa fl iaTcn waa adtnirably perfurmed; w«
mnat. howmr. t x f nm an anioaa hope, that Ibe neat aeketkin
majrpiwaMiparforto.iIni, aadthatNehaJiNaltaa diattaJlM
Ct'ewHinf nnf not lie p la ead WkM a y
ofttaiMBb nUhMMka^nuMlo

1 takcBOeplacaoriMaar.

Th* perrormaaiet under this name at the Kinf 'f Theatre dMi
a natural death on the fourth night. For the laat perfomanet
not cT«n the efoftKHra eoold be prerailed on to accept ordartt
and if aumban bad beca eouated, wt reril/beHeve thatOa bani
aadchoriMwioaid have niMtcred ncre ttroof ly than thekadlenee.

So mnch for Monsiw ■Barbia't aaeond abaitiTC attMapt at
naaagflnf Oratorio* I

. The performance* at Covent Garden Theutrc linvc been ai
ttPonpljr marked by success, as those at tl>e Opera House by
failure. On H'cJnes'liiy, the Stli if 1 i^t uionth, tlic celebrated
ruinposer of the FreifcltiUi wat introduced to tke British public^
as the eondiictor of a selection from hii mtiat popular opera, and
received with an enthuiiaain which ha* never been eicccded.
He took his place on the itafe, facing the audieaco. villia(ate%
in Uahand. with wbiehkegafelkatinMlatbeaNhialn. Ii^
thleadiealMMeBed in aa way aaibaniaM^ andtbovadnndt
energy and deeiuoBi ^tutthici whieb, wa learn from g«4
authority, were eshibited at the rehearsal in a still itrtmger
uianncr. lie cuntinueil tlois in s'i|i!'ririt' ri'! Ii-s imn mv.nic to
the end of the «e.ison. iiml, iijn uni-ir.ilU tu In.' Mipfmspi!,
drew ovcrflowini; li'.M.si'S f.icli iiii;lit. His|iriM rMC .i|n).iMri''J to
infu.se a new life into Ute perfortneni, for though there waa no
t]('fi< ieni-y of exertion arnoogst ihcni before bi» arrival, yet lliq^
evidently were csciied by his presence. Utat Paton made aa^
trandinaqr oliirti, and llr. Bimhaai awt have coavlncad lha
great eompoeer, that aor climate can sot only pniduee a fat
•inger, but preeerrahfan ancbangvd fur a long icrie* of yeara.^—
Ifiu Stephan* aang u tweetly a* ever, but waa not so
strong in roiee as utual. Madame A'estria proved very effi-
cient, and Mr. Pliillipi « ns atmvi r or>.ln iigth to the concern.

The strttcment* in two or ihreo iii:ivs(i:iper» toiu e rnitip M.
von Wi'Ikt"* person, prove tlsut the writprM u'lirr Im:) [ml bcen
him, or had taken « very erroneous observation of hi* figure.
He b Biuch below tlo- common alature, remurkAbly alender, and
iodicatci a state uf health which every admirer o^
deplore. His feature* are intelligent, and tha
af Ida which apfoavad ia tha lAlt Nanbor af tU|
b Mw Ml prafle. FVoai thoaa wlw have aiinwiiii
with him, we Irani. tha| be U a lenslble, weU-informed aM%
pointed in IiU discouric, and poMeued of a grare kind of wit
that cummanda attention, and a inoUrtty uf manner that exoitct
reifard. His new overture, c<Miip<>sr<l for the coronation of the
King of Sjxoiiy, Ins been pcrforrnnl , but as it is to be f;;ven at
the citfuiiy rtiilbanaoiiic concert, vtbere doubtku it will b*
Itcard In BMM advantage, we defer apeaking of it till CBlIM la

offatMBaaa aaaaata ipiaii

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THB HABMONIOOEf.

i^m** Tratsb.

On S«turdajr, Fob. tlte opera of Tebmtdo « Min». to
wUsh wc alliidtd ill flor iMt, «H paifbnied for tte iHit line in
Tlw ohmwtin «m llui CMl t

TrhaUo (bin mn, unrti r the feigiad :

of Sir/rrl,i) . ,

iMotina (UrAqghMf)

C<ni/<1»

((KMlMtWorjhMMM)

Signor Villuii.
SiRUOi Potio.
Sigfwim ikinini.
Sigaor Orrille.

'U WwU be A waitc <jf timo to enter into the itorj'ornn iiprrn
Oat laui bad so iitiic surcetii, auJ will □ever he lirnrtl of »^'<iln
aAwthe pi«(«nt scasiin. With the cxcrptlun nf a Iit/cIIo, vrliich
lukii nmirlhini; ntlier pleasing io it, a liurt that i$ nut nhau-
lutcly l):iJ, and n g-uo*!. (hart air, chiiniiin;;l_r iun^ by Curioni,
tha wbula woric it of the inuat cuntrinptible kind : nut »ur-
paawd fa JMnrertjr of design and rceblrncst of execution bjr
Ihe AMKag coaqMiaitigM of Nicotinic Puiai, Paren, M er>
tadaate^ and td gtmntmrne. 8* ipionai^ iadce^ doei tbo
compofcr Meat of the ml al>]Mt «f nmie, tiiat be hat thought
00I7 of the vordt aitd negrleeteil the id«i». Thut the bcroinr,
when Inmentiiii; her lost felicity, hitjiulics out iiiiu ;ia air uf
tunvultiiotit pairty, hceausc a word cxprcssinL' hiippinrss ocrura,
totally fnr'4 l'iiiL,' til l' lii-r situation and the scnliniem uf iicr r-img
are of the most mournful dejicriptlon. The rhonisscs prclrnJ to
•oinethini;, but end in ni)tliin^ ; and the urcrtiirc is downrii;ht
Inuh. Surh is the wretched utiiff that, to fratifjr the nwilf of a
musico*, !■ palmed on the public ; and ludi ii the miienble opera
fliatS^. VcUatiitraTehanllo hare for hbdebal hat eeaeon.

The conpoMr of (hb to the GhevaBrr MoriaccM. «f whom
MMM aoMint win be fouml at fsk%t ISI of oar'itt Tolame.
But ia Joftlre tu him, it mast likewise be stated, that he produced
it, in its present form, for n very vrcnk suininrr cotupany, for »
troop in u liii li Vflliiti « aiahnuitt the only tinfer of anynanip. He
coni^iiuciil U ailapli'il Ills niu.-ii! to the poicprs of hi* perfiirnirr>.
But nflcniar'U, iMvini; the iiierui-; <if t'ivinc;' it in a much IwtliT
manner, he rc-coinpoicd a eom-Merable part of it, and rendered
il nxore worthy of his reputation. U'bcn he heard that his work
vaa about to haperGraiMd la London, he offered to tend, without
mnuneraiion,llwhapfwcd acoreofittothe Kiag'a Theatre, and
his propoialmMcaiefiillfeoninunieated. But die miageinent
did not think ft to profit by Siirnor Morlacchra civih'ty, and his
opera, Iherefwr, bai been prtMliiced in a manner that hM
irrevoealily ciir.' limned him in ihi. country, disf rnceJ the theatre,
and (lisi;ii>-led iill real lovers anil cojiipi^ti'nl of music.

It tiitl with ,1 very cool reci'piion the I'lr-t iLii;lii ; mi attempt
tt\w\t hy the orJerljf people on this occa&ion to encore the
romance of Velhiti enUrely failed, and he was obtig^ed to leare
the ata^e twice, the house hting determined not to bear it
a eecond tine. On the second representation, the benrbrt
W«K half CBip^, and half of Ihe aacund act iraa left out.
n* IhM aad UntHk nighta iren alOl wancb and then
il BmU m di 4Mj«a was subtlituled. To Ifali opera
the town llocbed In aimilieni; for, thou^ almost satiated
with it, it was considered as 10 crent n relief frot7i the incom-
parable (Tullnels of the other, that, hjicknrycil nn it h.n» been,
it operated for a nii'lit ^ir twn like ;i rh.irni. In tlii; S!:jnor
PcllegTini, n bate, who has lonsf erijoyfd a IiIl-H reputation on the

* The title (ivm in the Italian Theatres to a nutU aopraae.

Italian itai^e. mnde his first appearance in London, in the
character uC FIgnrn, a part exceeilini^ly well tuilfd to him, for
his Toice is flexible, hii person aiplc, atiii lie can throw an abund-
ance of comic expresiiun into his coantenance, iiii Toice it in
fact a baritone; it is agreeaMtte^nnlitr, hutdeficieflt in power:
it is no longer that which w* oaoe naMnber it. He aiag%
however, with gieat taalc^ and m an adairaUa ffw^*tim. .b
the ojM** iifk ha *ill» malgri his mnt ti fam^ ha »
importaaladdMoiilolhaeampanjr; but if hit aid gi
lead him into the serious ofan^ thM ich a par ni»BljWWa»
rery terioat one to him.

» tor
ahaaU

TiiK Manai^er of Drury Lane Theatre has, we have Iteard,
entered into an enijaijeiiient with MaTKRBEr.n, the hiu'hly-irit'tol
composer of // < rimiitit in J\yilto, to compi-x' and tinn^; out
an o|>era at that Theatre. It will be seen by the Nuremberg'
article, in our Foreign Report, that he It on hit way to
Eoglaod The tpirit of riralry enDec4 in aypotiiv thia cele-
brated man to hit fellow-genius at the nfber hanti^ la miSif
of a great national thcatie ; h<iHtpiwa«itthe««»ll»eha>
little it expected Iran Oa attatapt lofldt ham Oa fhral ealablUK
nMst the title of anaiicnaavbfahaaflMMkgeniaaandeapHal
hate been expended.

T118 iNrAXT Musical Stanma.

Wh take blame to ourselres for not harlnsr called the attention

of our reajler-, at .-m cirlicr period, in ilic 7'm n InCuit Si'^ter".
who hare for the Ia*t few lllotllll^

■A rfi<< invrn

by their musical perfunnance.'< 'I'liesi- 1 li.irminL' !ilf!e rre;<liire)i,
the one laid to be scren. and the other only four years old,
have really attained a facility and )>crfcction uf playing truly
surprising. We strongly recuouucnd such parents as take an
active interest in the progress made by their chiMren in musical
•ladiee, to let Ihent learn, in the tastance of thew little girbb hov
nmch nwy be aequited by itody and appHenta, ataewf «ai^
afe.

Mh. MoKriiKi.Ht' CoxcKUT lal. ' ]i\.v.c at the Nex .\rgyll
Roiuni., on the 7th of April, umler tiie p-itrona^-^e of I'rince
i;!.terlia/> . Carl Maria von Wehir to conduct the per-
formance of some of his own works, and the principal Foreign

Tk« AnidicnaTjr Dinner In aid of the Nair Mdsicai. Fvm^
for the lUMarDM^ad MMhiaai^ their Widawa aad OiThanih
will take place at the FreennNon't HaV, om the J»h of April.

Mn. PAnar has nilvfrli<ed a f\M!i!UAN CoSCKRT, for the
24th of May. at the Kn 1 iii.Tidii ii II ill, umler the patrmiage
of tJ>e Royal Cnmbrisii Institution. He in to he assisted by the
Pennillion Singers, and Natire Welsh Harper*, in addition It
many of the principal Vecal and iDttnimental perfomert.

TiiK rehearsal of the Music for the ANMveMART of the Sova
of the Clkmoy is appointed for the 83rd of May ; the festiral ia
to take idaee on the KMi.

Thb Brraihighwn f^Tal (the MeeiUh) is fixed for the ftd,
4th, Stb, aalmh of October. The LirerpoolFaalitnl ia pett-
IxHied until \m ; bdog the fimHh year aioM tha last oaob
which took ptaee at the WW tho* irfih thoM «f Y«(fc mmI - Wv*

mingbam in 18SS. •

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THE

HARMONICON.

No. XLI., Mat« 1896.

MEMOIR OF CHRISTOPHER TYE; DOCTOR IN MUSIC.

TjiK subject of ihn pri-'sent Memoir belongs almost ns
much to the lilrmrv, as to the musical liisiory uf tfiis
country : he was a diligent versifier, as well uh a com-
po.ser, and his efforts in rhvm«, though certainly not
indicating that be was ^reatl^ favoured bj the piuwa,
are on a par with the producUona of Many of the poets
of bis daj ; while his church-ransic, if we may judee
from tbfl little that is lefl of it, shews that be merited the
wrnfiiHiniwl rank and repirtatioa gimnted to him darlog
lb lilii, Mid which have nerer tbm hem owiidtied ea
ndeiwrredly bestowed.

It {■ so gratifying — becatuc licrhaps so tun to raeoid
the union of literatoie eud music in the same person,
Oiat we sit down to our present task with more than or-
dinary sAtiivrnctinn ; indulg^ing, at the same time, a hope
that (111' Hkutcli wliu h we shall draw will not be less in-
ferrslin;^^ to the ^I'tn-rnl fnilfr, than to the inquirer iiitu
what ImiiHvJialelv relates t^j tliP history of the fjurmmiic
art.

CuRisiopnKn Tyk \vas, accorflinc ti> Fuller*, born
in M'l'stininsler, nnil hrri\ii;tit up i" the Chapel Royal.
He held the honourable apjK>intmeiit ol inusical preceptor
to prince Edwanl, and probably to the other children of
Beniy VJII. In \m he was admitted a.s Doctor in
Miarie at Oiadlridgo, and incorporated — to use Wood's
j Uli W aii MI*— * member of the UniTersity of Oxford in
1148, In the reign of Elisabeth he filled the office of
otganist to the Bflgvl Chenel, fur which establiiihment he
produoedmoiltif aolaUt «f nis sacred compositions, consisl-
Ug of " mmj flSOdhot tercices and anlht^s, of fotir and
perU, wUeh «ei« nted mAnj_jears after his denth}

**miMkt' wqrs the author of 7m Worthietof BngUuid,
wMcb icealved a grierawnOTMl in EncUnd, •! the
disaolotion of the Abbeys, was nuidi beholden to him for
faer recovery : sudi his excelleQt bUU and piety, that be
kept it up in credit at court, and in all calhedrus during
his life." Wood speaks of bis "'renown for bis admirable
skill in the theoretical and practical part of musick."
Before the middle of the reign of Elizabeth, at a time
when aniar<' urnaincntal and scicntifie music was wanted
in our service, he concurred with Tallis and a lew others
in setting several anthems, which are not only justly
H^pposed to retain much of our ancient choral melody

• trorManf

ToL. IT.

before the Reformation, Von in reinject of hnrmony, con-
trivance, expression, and ficiiera! cITi'cl, ;iro alhiwiKl to lie
tnodeU of the genuine ecclesiastical style. Dr. lioyce
has given an example of Tye's abilities, in the anthem
for four voices, " 1 will exalt thee, O liord," inserted in
the second volome of his CeUeeUm of Cathedral Mtuie,
" There is hardly," Dr. BonNj remarks §, " any instance
to be found in the production of OOmposers for the church,
during his time,
in any one key, as t
lehriifet; theharmoay
and mdody, thong h
of the best compositions of the kil eantanr* MM fine
from pedantry and the diiBeultiei of eoadlMafed mm^
siires, which this composer hed
the first to abandon."

Dr. Tye was certainly much esteemed by the best so-
ciety of the ape in which lie lived: his acquiremenl-i ren-
di.TciJ him a (lesirahle attendant on the court, niid a ii', el-
come visitor in the literary circle ; but his tempi r, nctord-
ine to Anthony \\'i.<jrl ', retjiiim! a (>,ii^iilcriiblc weight of
talent to countcrlialuuee its det'erts he ^^a^, it sifnis, " a
(leevish, humoursomo man, esjx r iiilly in his latter days ;
and sometimes play inj; on the organ in the r hapel of Quptn
Elizabeth [/Aa<J which contained much nuisic, hut little to
ddight the ear, she would send the Verger to tell him
ihatne pbyei ont of tone : whefenpoB he lenl «etd, the!
her ears were out of tone."

In an old play, entitled, When yoM «M m^ fVH know
me, bv Rowley,'printed in l«13t wherein ere represented,
in a dramatic form, some of the lemarkaUe evenls of the
lekn ef Menrv YIIL, M • eomenaliaa h e tw e ea prince
EdMod aad Dr. IWea the ni mwe, wUch,

being curious, and flMW a fatUoalivi asw emedlni^
scarce, is worthy of mtiee :—

Prince. Doctor Tjre,

Our mutiek's lecturer ? pr»y draw near: indped I
Take rauck delight io ;e.

Tye. — In mnsicke M>y your grace ever delight*
Though not in me, mosidte b fit for kings.
Aad not fiiv tiMM kaov not the eUim of striefi.

PWaM,i— IWf I W*o it, yH than «« a Silt

I jrMwy o/ Mu-c, 111.

Qfce dikmtlim Jtf Mt M. Ig0, wkm Ihi* euiotti bo<« afpsats

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THE HABMOMICON.

Scenliif more pure th«n wia«. that wW ipblldA Mb
Cal£i>( it idle, Taioe, mhI frivolous.

jT^— Your g;race bath >aid, indeed they do upbraid
na tHBM it k Hk ud Umm tbat doe an MMh
Alls H w wI t w nolMpiqr caMwiilHiU,
AO Mricke iHfW «Mi Am. hrt MMkb af fgUi

In mkfcM praiM tbua will I better it :
If ttdekc tt tearenly. for in heaven i« Niu*>cka,
For there the leraphinado ling nintinunlly ;
And when the best was b<tm v\ er vrat man,
A quire ipf anjrU sung for joy nfit ;
\V\\it of celestial was revcslfd lu in.ni.
Waii much ofmuticVe ; 'ti« »aid the beattldidi
And tanjf before the ddtir •'iipernall ;
The kingly prophet uing before the ai kr,
Aad with lui nuidu diwv'd the hcMt of Saalt

ThB dolNt toOfM oraMuUc mds At I
ToatoM^ imMliMutll bmttud bMi lo i
Aid laat the trumpets rau^te aball kwak* Ilia Im4

Aaddoathe their naked bone* Id cualat of iMht

T" appear in lliat hiifli Imuw' of parliament,

WIk'd tliiwi- (iiiit s-icish tin ir ti-etli nl iiumirVt!* loiind,

8hitll make ihil vvlicri' ini:»i< kc iiitp urns fdtind.

Prince. — TIiou g^irett it perfect life, tkilful doctor {
I thanke thee for the honour'd pniw IhM fflWl ife
I pny thee l«t« btut k Im.

Tgt. — "D* readjr Cor jau ffBM. OhekiMtkto
Tirku d tMwi liiiliiniii

(Loud MutiektJ

Priitee.—'TU vdt
A coropleat iij;!-.
Al muaicki-, in.iri i .ji. rnd by (topi
And by dividing notes, luiuetimei abift,
Sometime bclov, and when he hath attnind
Hla high and lofty pitch, breathed bin sliarpett and moat
Shriilett ayre ; yet at length 'ti* gone,
AadiUb down* irtie Ilia eonelmiiM. IS^Mnidc*}

A liMer alndaet aaatlier kind aficcnient ;'
T<M *« iwpt tttcae many atriiigi^ lie one nntua'd
Or JanaA tow or higher than Ua course,
)ier heapath steddie meane amongst the rcit,

Corrupti them ;ill, so dotli I>;ti1 im n tin- hr^t.

Ti/e. — Ynuui,'!], let voii cs m r,v Jcliglit his pruit i-t y care.

(A *0.;pj

Prince. — Doctor 1 thank yuu, and commend your cunning.
I oft have heard mj father merily apeake
In yoar high pndaa ; and thti* hi» highoeeie taitb,
* Bnghutl una Odd, a« tnlli, oite doctor hath
Far MiHidN'a at, aad b Dealer 1>i.'»
Adadtad ftr alin Ik nHuiafci^ hanwagr.

S)pi-p-Ta*fBaaa dolh haBour me wiik Idad aeai|iteiicab
Tat eoa <Mf aaeie I do bewech your e«aihiia»
To daine tu patronize this homely worke,
Which I iiata ygor grace have dedicate.

• At the tinetrhM FuieaW waa to Baglaad. about iTSs. an
Mtclametiee er the amc kM, appMeA to fliat lin^r, gtre ^rrat

offi*nc<*. Ht^ hart just ftni^ti*^ s fnvcmritf* air, mWn ft la^ly from a
box ciii-d out liiudJ>. ■■ UiH- GikI. oue Pur«rlli I" Hoj^irlh has

of DMMiaal Mly im hia

Pn'nee.— mat k the title ?

Ty*. — The Acta* ofthe holy Apoatlei tumd to verte.
Which I hare set in levenl parte to ting :
Wetthy acta, and wartfaily in yon remembered.

PWeee^^B pain them, and tatiafy your paine^
And hare ihem sunjf within my father's ohap'!

To his profession music, Dr. Typ jc)ini'<l a runsiderftble
knowledge of Knglish and Italian litcratun- ; anil having
been taught, says Warton t, " to believe that rhy me and
edification were cloeetj connected, at>d being persuadal
that everj part of theactiDlnrewoidd be more instrticllTe,
received, if ffWHid kilo vetM, lie projected a
translation of (be \cTS or thb ApoariEs, into familiar
nietre." However, be completed oolj the first fourteCIl
(duntata, which were printed in IMS, bjr William Setm,
«il£ Iks Allowing tiitet which wU acnrcely appear
nrioM to the leader who It wwcqyiihHiid with the
edkir afyle of this period.

'* The Acte* or ths Arosttss translated into
En|(1y<(be nietre, and dedicated to tbe Kinpres most ax*
ecllent mniest> c, by Crislriter Tjf, DiK'tur in Musvke,
and one nt thft (ienl>lint'n of livs f^raccs ukisI hdimurable
Chap|iell, with noleti to eclie chapter to syii^e, und also U>
play upon the l ute, very necessarye for studcnies after

t Ib aaotber pari of this play, CoinnK-r aixl Tye apfxsar, aadam
met in one youa^ Browne, wito is cairyiog the prince's doek eii
bat i Cnuiiner iiMjuiAs o{ him wbai i* t>*corae of the prince> aBi
latoMtbaihe is at tcnaia with the Haifnia of Oonet j wyaB ehhih
the followiDi; dialoicue eaaaaei— '

Cranmer. Goe, t>i nrr thi» yoiin^strr lo the chapfwl itiugll^
And bid ihc uwii»i4:i of i\u^ rhilitrcn wtitppc hiui well i
The prince »iU not loamc. Sir, and you sliall smari for it.

Broirntt. O, good mr lo«l, I'll make him ply his booko toHnorrow^

Cranmer. Tliai shall not seme yoar lurae. Away, I say. (A«jl.
So, Sir, this policie was well deuiasd; siace be waawhiptlhea
For the prince's iaatts.

His irmci hadi ^.-ot niorr kDowlr<)(;e in a moneths *

Tli.u. uv.uhiil in a v.-ji[ lnr..7, ,

For itill thu fcait^ful hor, lo Miuf hiii lirppch.

Doth hourely haunt him, wbrrpsocre he goes.

TV*. Tie ao, my hnd ; aad oosr the prioea poteeirea il,
Aa kielh to aaa him poaiihl for hia bnll^
PUca it of pnrpoa* to ledecme the boy.

By this pa».«a;;f it n[i|«';ir». tlial tln'n» were in the royiil liousr-
bold two citsun< t m il i /n' nm' called Mastrr of Sunt', " lunr
doty it wax to teacli iIki children of tbcchaiK-l singing: iht? ottwr,
a Master of tho Grammar aahael. Who taogm them also, and pro-

JMs sigtcrMes
ptolaU-See

bably other childrea in the palaee, the rudiments of tbe Latin
toogoe ; and aa Browne does not app«ar lu Ih.- a ctiiM of ilic chapel,
Itaeemaas ifCranmer meant in x-nd him for-corrf^ iion, not lo the
masU^r of thp cbildrrn, proprrly no calird, i.t. tlx- MaMer uf Sob^,
bal to the Master of thr Uramnur-scboot.

U will doubtless seem very straii(c, seeing he bad i^nt hi-cn guilty
of any faoll, that Bmwae iheeM he wUptatalli hut Cranmer'a
order may be aeeonled Ibr. The ii i aUk e ef whipping the royal .
children by proxy had probaUy lis riaa in the edacaiion of Priaeo
Edward, and asa'y he liMed down lo tbe time Wtten Clieriaa the
Fiivl waa prioea. As tu Browne, it docs aol appt'ar n lm )>f was,
or what became of limt .liirr Eir ^irru-nl bI ^ra'i <>F li :. I kf.

But Bishop Bamet, in Ins History of the Kcfurmation, speaks of
e a et hei ««o had eoen play-fellow and whipping.taiy aa Mann
MaWfJ, ea«waly,Baieaby Wi i petifak.a very tofaoaeea a ndaa e aa

plished youth, who baeame the foandcr of « aobla batily of ihat
nainr in (irUnd. He is fmiucnlly mnotiooed in Iba Jooroal of King
£.ilw;iid VI , liy till- Hum'' cf Mr. iliiiiThv ; and in PoUet'a Wolthira
are several Irtlrr" frr.m Ihf Vin^ vi I nn • • n npon hia taivela, eoa
taining directions for bisconduei, and many oxpieiaieiiaofalisotiae
and concern for hia waiihre. Bumat, ia hia account of Mr. Munaj
of the bedchamber, aaya be waa whipping .boy to King Charlea i.
In tiie Spectator, No. tilt U B sioty leawwiiai 10 this perpaeik ^
Mr. Wake, father of f" " " ' " - - - _ _ .

JIMMy, VoL iU.

Digiiizoa by Gt.x:

THE HARMONICON.

llaH that cannot

Aetr wHtei, and alsoe for aU ehriio

synee, to reside the good and gMje

of th<! lives of Christ his aposilcs
A» the sininilar dedication of this work.

To the

e singular dedication
•nd mdly learned pTooe, Edward the Siith,"
t m a Am «f ^a — awr and hii pnidndka, n»

a Hm Psalm to write in ryati
f«ne plesaoat ta naht ;

lOiM duth tnke in luutd to
Oat of the BoakaaTMinfsa;
tbejr se joar Bnm Mftt

In such nice icodlj'c things*.

Aih) Inat i)f all, I youre poore mi^
WiMNe doings are faH feaM»

Yet glad tp d* the iMt I caa
Ta gii* vato jaor Snee,

Bare tbvui^ht it xJ nou- to racyle

The stories of ths AcU-i
Bmo ofthe twelve, as Luka dadlieiyli^

Of aU their worthr fartai i i

fJnto the text I do nut nd.

Nor niitlisii^' ti>ki' iiwuyf ;
And though lay tijie be grua and bad,

TkatnthpsreeTtaTeBay.

WfttO^/agth ae

Tear Oraee shaD hereia tjait

Bf nutei set fortli to urnirr or j/kfl^
To recreate the mjnde.

nat soeh good dqpBfn foar Checa aiill

Toar lata whra imtfat
fa steie ofMnifn ef wMlaa lgn»

These storiei then t« plajr.

So sliall voiir Orace plasae Oad tfw Lank

In 'iv-;ilkpiy la Ms wajt,
ifia huMs aod alelalaa l» teeaida
fa jnarheast afgM aad da^«

And eke your rtalm shall fluurish (tf^
Ka Kuod thynf^ >haU decajre,

Toar tubjectes ihall with ri^ht good will
These wurdet recorde iiad laye ;

" Thy lif, O kni|^. to as ioth shjne,
Ai God'n bokc dolli thee tcacbc :
Thou dcMt ua Teede with such doctrine

The Acts of the Apostles, Sir John ITawkins informs
ns, were sung in the- chnpol of Edward VI., and probably
in other places where cljural music was performed ; but
their success not atuweriag the eapectatioa of their
author, he j^tApmOj mffMmiUwuM^ Am .„,m,^^^ »f
anthemSi Ike.

Ib tM«i Br. 1>» heiiialii lh» alhetnf eiorf of
TaB«D«BB AHD HoivostA Ami BoecMeio. The
mmm of the lover* are disgoiaed la tiftllblliniiiig title ;
A iMliAle hietam af VMifW eiri TkMHMML M lest
•^TeTMin iMo

chnrchjarde, hj Thomas PurefixDlc, dwelling at the siea
of the Lncrece. Anno. I5e9." This is in l2mo., black.*
letter. Tyc has used in this lale the same itaosa which ba
employed in translating the Acts. Th»bli|ht ef Ml
fonoini^ the ladv, is tims described*. —

He sawE apiironthe with iwilUe foote

The place where he did sl»vf ,
A daaia, with soattaiad haaras vntnisaede

BMUeeaU tUs. two mastiltt great

BeA fierre and full he sawe,
natlaNaly pinHit'ii!' Imt h\ the flaahe

WMhfreedie r*«'i'nirii; r.i*e.
Aadshe akaigbt, of colour swortbt.
Bat

Vpon a rourter blarke :

With g^stlyc thrrtntrii^ niijnti'ii-iijrife,

Vith nnnynj bh i>r(lL' in liiivlr' ;
Hbloolce waldmahe one feare ; bit ejes
^Waea Hka mtof tnada,lK.

Dr. Tto is now almost forgotten iti our catheilralii, but
as be constitutes an imjx>rlant link in the miuical history
of oar coantry — which wp shall continae in a biographical
* — — rather conspicuooj) for having caltirated
with great assiduity, we nave taken
trame in colleciiog nwlatialefbr this
aai kave deivlid • laiger ^eM Ihu hotI lo in

ON THE C, OR TENOn ( LBF.
To the EdiUtr vf the Haamokicon.

Sir,

Inyoiir leal mmlier jm Imert a plan for keMdif

the difficnlty ariring htm tba «ea of tba o clef; and
Toar correspondeat eaya ba ii not mwmn that aay one

has attempted to remedy the eril. This is an error ; for
it has been more than once proposed to gimpliiy the
iiiie uf the clcfb ; Olid, it) pnrlicular. Grilry suggests a
plan which is substantially the same with that of yooc
eotrespondent. He explains it in the following iB
his few/MJ iur In iMtuiijue, torn. 5, page SiOO.

" 11 ne faut fjn'une ou deux cUs pour retendae des
Toix et des instrumens. La cle de ml ordinaire sur la
seconde lignc pour les deasus, les riolons, Mies, hantbois,

Sfc. La de lie tol,

sur la seconde ligne, maia

ayant uoe fbnne dittraMe^ pour la bante-contre, In

eeUa-ci eit k f oetare basse
1m flite, la petite flute,
toajanre an deenie de In
trob, qiiali« Ugnei n^ttei, en
qui est tris g^nant pour VtaMHlnHt, «l Mt nn nwnnlt
eflbt, poor la ooap-d'eeil, dnM voa nnrtHhni. Ainimet
oepaa oMtton den dindn«f 11m 4 d»rnolN

tailla c» q«i
de U dl da Mf
jouent anjooid'M
port^a; il y a

dire: Jtmm d foctaee. La
NT Innlme cK de/b peete

iie at la viole penvent
Snr la quatriO^nM Ugnn t

O a

THE BARMOIQOON.

jtalt odh ynf* ^ 1b riole aura une forme differente,
wmr indiqiwr qu'clle joue A I'octave baatc de la basite.
£n rain on me dim, que pour trouvcr ui dans lous \es
•BdniU de la poii^, et pour la racilitL- dc la transposi^
tfoBtil fiuiti de pitui qoe nous n'avons encore, une de d'tit
nda Hconde Iigne; la timnMilioii« inntUe i bien des
imuitf Be maito pat MeMiai,«iltealNnduaedeclei."

Thii niaa of OrftiT^ aaiwers aU tlw v«piMt «f lint
nraposM by 'ywr oomsnoodant, aiw ia Hfiriv to it
in one iin(>ortan( particular. Gritry propoaei to dil»
continue the use of tb« c clef, and to use only the o and
T i-lfis ; makinji sumo chaiigo in the form of ihe C clef,
wlirn ilie notes arc lo In: souiuled an octave lower, and
some f Imiiyi' in tfic form uf the F clef, when the notes
are l<j bi- souiidwl nn octave higher. This plan may Ik«
aduplfd in >vriting music, without in lln- !■ asl iiilcriVriMt;
•with the ehtabli&bed system of iintatidn, with v,\ikh it
has nothing inconsistent. Your correspondent proposes
to introduce a new C clef, placed in a manner tolall v at
variance with the fundamental principles of noUtion,
and the adoption of wliich would present insuperable
difficulties to the leading of a great portion of Ihe music
that has been printed in England, and of almost all that
baa been printed on the continent, down to the present day.

To t* eosifinced of this, it ii meeaMny to adveK to
Oafirndkmental principle! of ■HHwalnataUaa, which an
admirably esplained bgr BaHHM fa Ui LieUmmin de
3futujue, Art. Clbv. Hoiieal aolei an t wfnmd by
points or marks placed npon parallel lines, or in the spaces
between them ; and the whole number of parallel lines,
necessary to contain llie whole diapason or scale, is
called bv Kou.'seau the qmcr/il rlan.iry ut system. The
tLse of this general cla\i;iry i>> evidently unnecessary
in practice. It is sulllcieut to take as many lines out of
it as may be sufficient to contain the cumt>ass of the
innsic to be written. Five lines have been found snRt-
Cient for this purpose ; aitd the use of the clef is to mark
the situation of tbe&e fire Unes in the general claviary.
Rousseau has illustrated Ibis by a dingram, which may
be ureMoted) ia a ainpler and iwmenbatdiflimnt form,
Mftllaini:

L — i*±

TUa ihewt Iba ftar diflrail pntioiiiL of f ve lines
ow^ irbieh are lakea ooC of the aeneial daviary, ac-
oofding to the nractioe of Englana, with the dels or
cbaraeten by wbidi thoee diferent portions aie distin-
guished. These clefs, it must be obserred, point out
the position of the line on which they respectitely stand,
in the rfentmi ■.■Liiiary. licsides thi' uIrivc. any other
portions of five lines might be taken fur the purjwscs of
nutation ; — one of those lines always containing one or
other of the above clefs, in onler to mark the (tosition of
that line (and cousopienily ot all the others) in the
general claviary. Ac^^irdmgly, iu I'oreign music, the c
clef is frequently on the jiis^ line (a clef iu universal
use for soprano voices! and liumelimcii on the tecond line,
as well as on the thira and fourth ; the clef of r is some-
tiaiea «a the lUrd hat, aitd the def of a sQaictiiaBS on
ihafirtfiM. M, inallthMeTnrialiMof itwrM, the

clef always icprtMBli ODO fadlsidMl Vmjrf Ho ^mmmI

claoiary.

Such is the system of musical notation, established
over Europe, and oonfimed by Iho inetice of ages.
This system admits of gfoater or lass wi^y in the
number of clefs ; or, to speak more correctly,} ia Ihe
number of different stares or portions of the genanl'
daviarjr whin are used for notatioa. In England, the
four dm already ■sntieaed have been generally con*
sUored fadkpMWabla In works of a high da», which arc
eakatafed for the nse of acoomplishM musidans and
certainly (whatever may be the inconvenience arising
from their difficulty) they have, when understood, a
(learin ssand precision not Jo be utt(iitie<l nithouf them.
1 h.HM' ol'len thought, however, tliat hm c dels are un-
necrs^iiry, niid that both tin.' alto and tenor parts may
be «ritti ii Li|i. 11 one of the c clefs, the other oeing dis-
contii-.netl. Tlie difference in compass between these
parts is so small, that a single leger line added would be
sulBcient for every purpose.

In the same way, tnc use of both the c clefs may be
discontinued, without any departure from the fundamental
principles of the system. This may be done in TarioH
ways. It may be done, in the first place, by ashlg tho
G and w clefs si^r, with leger lines, when thecowpsss
eztandi abof* or Mow Ibe sttve, as has been dona by
CknantI, fa bit editions of The Creatiou and oOmt
works, fa which the alto part is In the g def, and the
tenor in the p def. This has the advantage of present-
ing to Ihe eye the real notes that are to be Fimg ; but it
has often an av.kward and confused ufT'ect, iVura tha
number of leger lines which are employed. It may be
(lone, in the second place, according to tin'-try's jilan,
by writing the alto and tenor voice [>arts, in the g clef,
an octave higher than they are to be sung, and marking,
by some change in the form uf the clef, that this is the
ca.se*. Or it may be done, as is now very general,
by writing the alto and tenor parts in the O def. and
an octave higher than the real notes, and distin-
guishing the parU, at the beginning, by the words a/to, or
IfRov, and sometimes adding " an octave lower." — AU
these methods are in perfect esniistancy with Ihe prin*
dples of the system, and present a* i«|ndiaient whtiBvec
to the acqnisllioB and nse of ^ iliielemdaof aoleilion.

But yoar eorre^iondent's plan innilves At tolaidne-
tioo of the c def in a position where it cannot ha flasod
witbont overturning the present system altogether.
Unless we jro this length, we cannot allow thf r: rh T trj
be plnce<i upon u apire. The c clef must stand upon
(I line — one particular line uf the general claviary ; and
it is worth remarking, that this line is that which se-
parates, the treble stave fruin the lnus, being the legt r line
immedialdy below the treble sUve, and above the bass :

3: I

* QtAtqr MOMKt aUo to wriM lb* pait Ibr tb* viola, ia tasMW-
■snial aiMie, m ibe r clef, «Ub a ctea^ of fsna, to indteal* link

the Bole* »n to be played an octavr higher. Il may at fim ap.
pr«r nnneceMarr to write lli*- rioU part in a diflrrrnt clef from tb«
tenor Of counler-teoor voice |iart> ; Kui GreU)', roawD foe tlua
evidenilj ia the cifcvautaaee thai the viola and viuloaceBshSIO
•tri]i(i at the dijtaBcc olan octave from each other.

Digitized by Google

THE HARMONICON.

If ddi kyer Uat, eonmoii to both sftvea, were pro-
kmd, ndTO* C def pot upon it, we shonld have the
■CMUBl'dMtaiy M fif en in the foregoiiig diesmm. It
fi, HMfefftre, evideaf, that the kbofa mte c wknh 1 iball
call the tenor ne»g, mut ftkDd •pM • iritKther the
stave in which it is fonnd is nwrind with o def, the
Tclef, or the c clef; and any note C which stands on a
space must be at the distance of an octare from the
tcimr iiaie. Hul vonr corresponr'r'iit'^ idan professes to
itulicate the n-al notes of the nllci ami tctlor parts, bjr
placing the tenor nntp on th(' third iqi<ir\\ a situation in
which the real tenor rif,t< cannot possibly he. To place,
then, tli>^ c clef oil the third ypace, and to hold it as indi-
cating the real tenor note, is. by inlrodncinp a stave which
does not form a portion of the gpnernl rluviury, to violate
the fundamental principles of notation, and to produce
•n irreconcilable discrepancy between the eslablishe(i
system and the new method : — and the effect of this would
be to produce a confusion of ideas on the subject of nota-
tioa, which wo«ild leoder it nest to inpiaaiMe to acquire
■die Bew method, and Is telahi the eM. If thb new plan
h to destror the eeientlle hannQj at pmseiit existing
-aaioog the aiflhroit defs, as pofts or floeieeenA system,
and to render all the Talatble works wbidi have been
printed in the established manner of no use in tiaw to
ooBie, it onght to exhibit some transcendaot adfaotageti
in order to vanquish such objections.

But in point of advniitage, it has no superiority whal-
cTer orer the plan of (ir^try, or even over the enmmon
method of "ritiii:; llu- nllu iitid Iniiir jiHrts in llir f, clef,
and indicating, in words, that the rx'les an- t<j be siiuiided
an oclave lower. Luok at vmir (•(irrf^jmnileul's ^jM'fimen
of a sew, and you will see, that his alto and tenor parts
are, i»i '•J}'>'''t, written in the g clef, and are to be sung
an oelatre lower. His c clef cannot be considered as
indioaling the real tenor note; and it is obrioasly
neilher more nor less than a mere mark, to point out
(hat the notes must be sang an octave lower than the o
daf. What is the difference, in vtiUtr, between this,
and following the common maUndf flona thnt I can
pefceife. la diher caa^ the oolea am preaeated to the
tgreaa octave dwve their tree position in the o def;
M la either caaethia fallacy is coneetadhgramafk, or
hj a dIreetioB, at fhe beginning. The fiirm of the nark
is of little or no conscqoence, provided it be not a mark
already appropriated to a different purpose. It would,
indeed, be some advantage were the mark rrpejiied at
the beginning of every line, in place of a directimi iM'in^'
gi^eii ut the beeiiiiiint; of the movement ; and <tn this
account (jretry's prn|K)sal nf using the g clef, with some
alteration in its t.irrii, »i,i:ld lie of some use. Grt-try's
application of his mt thod t<i ihc parts for different instrn-
Uenls is ji»'rfp( suflirifii! and complete.

After all, 1 am I'ur from being convinced of the ex-
pediency of abolishing the c clef. This is a subject on
which the musical world is not agreed, and certainly a
good deal may be said on both sides. You probably
think, however, that I have said enough at present —
though, if this letter find a place in your elegant and
valuable niaceUaojr. I majr perhapc be ten^pted to tradtle
joB«Ilh aona lanuiikt on tnat pwt of the mbjeet
Iienain, Sir,

Your ver/ bumble Servant,

AN UNPUBLISHED LETTER OP Til£ ClIEVALi£R
DB GHASTBLLUX TO MBTASTASIO.

[To Itic L-lilorof lti<: llAiiuoMcos.]

Sir,

I.N 1765, the Clxralierde Ch.istriliix publithed his imnll, »nd
for tllkt period, inl«l)igent wurk, fntLtli-l SurtUnion dt Ui
PtHuM H im Mmtiqmt," which wade a great noise at the
ttrn. The edahrated Mctastaiio addressed a letter to the
anthar, in «Udi Im niiplilia dtht pre-eminence whidi M. 4*
ClHHtelhix appaand to fits toaiasiii over poetry, and iii wUsh
thit i^eat IjTtc poet advanced it a« hb opioioD. tbst poetry waa
the bnily, and music only the clothing." This letter has ahwidf
ticen piili!i»Iied* ; but tlic fdllow inir iinsM cr of ('li.\f.tdlLi\ f.till
remains in msmiiiirript. ao'l I bi*tr p< rinii«iiin to lay it before
vou, a« copied from tlic orii'TinsI, wliii li i» in my poueuinn.
It contain* Bome principlci which will at once illuilratc and
•trenftlten the excdlent obaervatioas " On Ibr Musical Drama, '
whidi apiMafed in joar Number liir March, extracted from
ArtMiga'^clsaried wei^ U RktMrnd tU TMnMmkA
lUdiMO.

Per yoor matt IsluilllMtse tin plsasnie of tiiiiHidHirf Mt*^
statiu-i answer to thisl«tler.«hkbIhaieod/f«9aaay the food

fortoae to obtain.

, Touts,te,

Patoiab.

. . . 1 is true that I have written upon music and It**
lian pH-'fry ; but it should be remembered, that 1 wrote
in France nnd for I-'rHnee, I have not the least hesita-
tion in believing that Arlaterff, Attitio Regolo, Adriano,
Catoiw, and Komulo, would eain more by beiiic: well
reciteil, than by being sung. Who can doubt the success
wliich dramas like these would liave upon any theatre in
the world ? If, instead of a viriuota, whose whole sonl
is placed in her throat, a second Clairon should raise in
Ita^ a ttagic thealrebj the side of that of the opera;— if '
iaaiaad oftboaa aqdsned hdBgt,irho are aa repalaive by
their inre and appearance, as thqr an captivating bj
their foice, she ihodd bring togetfair tm assemblage of'
actors, whose natural talent wa> aaHghte— d and eadlad
by the stody of philosophy and lettan y-^ a ward, If a
new stage were consecrated to declamation, what man
suitable could be found to represent than the elufi^
li'irinres of your pen, >shicli have been so fref|uently
jK'rformed, and so frequenlly H<lmire<l upon the lyric
tbentre And so it is with us in France, (."orneillc,
Racine, and Voltaire liave their particular temple, which
they Mould willingly share with y<ju, arul wliere we have
been tempted to apptaud even the feeble iniilalions of
your works. It is there that your tragediej; would natu-
rally find a place ; but then they would no longer be*
considered in the light of lyric works. There is in Pada
another temple where people assemble on certain days, ia
ortler to meet each other, and look at tlw dances and
deoanlhMa, ahhoi^ a kiad of tacit agreement has been
aMda to tail atmaaera'that thdr visilt are purelv for the
parpose of lidaaiBg to French music. It is aera that
nnriehehla bar oaspire; tlioarii, to say the Imtb, tbar
has faaretodua i«%aed only after the aiaaner of Eastern
de^iota, iih» aanr dtow iheaMdvei to thoee they govern.

» »m tUm^4$ imuwUmt mnrngb^ Vol.r.^l.

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THE SABlfONIOON.

How iaendiU* doM U afpMr, UmU we iIkmU 1mv« a
Ijrric Tr***v'f tha whole jfmt fwiad, and jwt can boast

•f waMto half ft

,W»«tlMt

laUiabIa pieeei*! . But, thank
• ihMM whioh itabHbMr

lition of poems destined flbldjr ftr the theatre :
maS it u at lengtn acknowledged aa a neai««4 tralh,

that .1 sjipctacle ul' ihis kiiiJ, when brauKht to perfection,
in capable of affjrdiu^ au enjoyment of a »ery refined
kiiiJ, iiKieed of a nature p'ciiliar lo itself The
piimp ot decoraiion^, and the charm of the daoce ouf^ht to
cxmcur w ith the uui&ic in the general effect, and be em-
floyeil not only as ornaments but as means, and, if 1 may
■0 exprcus myst'lf, should form an integral part of it. This
is a raaguificaot siiifimhlay, which a cawbrated wiiler,
who 'uttmBtu.jUkm^btitaaAA poaltaallt taiMe of

Such, sir, is the spectaclf, spealiinp (,f h\ch I oJisrrTed,
that music wtui its prinripal and prL-duminunl pari. ]t
ii trne that we have imt vet beheld there either a The-
mistoclpK preferring nii ungrateful country to a powerful
mouarcii, who promised lo hf fiis ht'iicfai lur and avccci'
his cause ; or a Reguliui cxertins; all tlic pijwcr of his
eln<iuence to persuade a SL-nate, who souj^hl to save his
life, to change their opinion ; but we havo M itiicswd au
ftlridm oTertbruwing the walls of Scjrros, and penetrating
MCtt to the infernal abodes, in search of Alcestes ; a
Omar muidering on the banks of Lethe, under the form
af an oMdhsUnlial tbade, whik Pollux darad approach

lha awful thraeeof Ji^tter to mtnat the lertuntioo of
liis brother, and tboagh Invited la ih>M the Jan ef
OijmuB» •acrifidiv iMMrlalUj iMf la A* CMM of

It wea in eeni|MMitioiia Uke these, where evety ad>

Tilts g- was taken of the powers of the marvcUmis, of
vapid chanf^e of sitnatioa, and in which great facilitj
of metre was aflbrded, that everything .seemed to favour
tho tnuHician ; and yel all the effect was not obtained
which such a rare union of fortunate cirtuiiistancps
s«'mtfl to promise. But why was it not oblaiunl ?
Till- is I he qitettion that 1 have endeavoureil to answer
in the Imlc Eitay which you have liindly condescended
to peruse. Yes, sir, I do n<ji hesitate to declare,
that it is fraai net having known the principles by which
IWt^f and MmIo aie allied, that for nearly a centary
•ur opera has been tamed to so little acooant

What an astonishing contrast is preseated betweea Italy
and France ! On one side, a national genius, at oooe
imtifte and graad, and oentinnaUv stiarolated to
iliwahy « people who dd^ hiaiie— d thfi

la tiae to treat that pnUic with ariettas, jirojier
mrdu, or nor* properly speaking, propter twoWtfaw
UHtitt while its mDre serious cceupatiuiis arc directed lo
tte eflfecls likely to result from certain combinations
of sentinietit or melody with (iramatic .iciiuo. lui l the
stronger effects of harniun v ; and havmi; nst rtamed its
nature, to stamp on it at ance all the perlix Uim of which
it is susceptible. Ou the other side, poets \\ ho h"d no
Other object in view than tlie musician, and who omitted
I of melting theuuelTes subservient lo him, and

Omt ikiawas wnttta in ITSS.

cumbered with theteiMMbaf dkril fotanlas, whsaa inly
efect ia to paralyse every energy of the mittd, pMml»
hare asbanced thennaivea from poetry altoaetber.

S«di m tbe oltieeu aoinrtViUd 11^^
direeltd; sneh van the nottvae that indnosd aa to impress
UBon the atteation of writers, that music is tbe principal
ooject of the opera: indeed, what is an opera but the
Very proviute of music .' .surely then she oimht to be
uiistrci.-i in her own domain. 1 have wnttpu iijRin the
union of poetry and music ; but in thus unitiii;: ihem it
was my desire that tbe match should be n .suitable
one. If 1 rightly understand you, sir, you would have
jk<rirY \\ei!<lid iinlv to :i slave, and that sUve insolent aod

il' ini rio^. \\h<iiit' comes it, that the comparison*

vou draMf, lu prupuriiuu as they are ingeaions, are more
bumbling to that mislreu whose cause I espouse. It
wonU be, aey yon, too great an absurdity to p^elani that
lha dolWa • penoa wean should have « prfMM*
over the person that wears tbeas. Bat aUssr st It
you, sir, suppose there had never bassi any nwdn Ml to
■aasie, would music have Um airillad as M aM t I
W i lt antiquity, that epoch in wMcfc WMlie jwd«BBd A*
most nowernd of its efceti, aad I do not iind that lb*
miracles which it operated were the eilbct of tbe worde
to which sounds were adapted. I cannot disco>er either
that i'hilip appeased a revolt at Sparta, or that Timo-
thcus was fihle to incite .Vh'xaiider to quit the banquet
and hasten to urui.s, hv the [lower of tbe verses that were
sung; but, on the coutrarv, l\v the magic of modulated
sounds, and hy the force of rhvttiin, >vhich V'ossius calls
Utif ioul of music. Is not mu.sie a peculiar laii^iage,
which has its members, its periods, its rests, and its
varied cadences 7 Is it not capable of painting, in the
liveliest colours, joy and sotiow, oearage and iear, vin»
leoce and gentleness, hatred and leva ? I erfcwewlrfgi^
it is true, that its expressions are soawwhat vagne, ea>
cept words are added to give them a determinate signi>
ficalioni hat does not the MM hold faod, la a oerlMn

degree, with painting alaaf What rfiail I aay, «b%
respaedag the art of duwhig, and that of pantomiaai
arts iar inferior to that of asnsie, linee their impressiaai

reach tbe understanding by a road which ia much more
familiar, and much less pleasing ; but does not a mate

scene, a ballet without n prii^raioine, speak to the feelings
by a laiit;ufi;;e peculiar to themselves, and without em-
ployint; tlie aid of jx>etry: nay more, are they not them-
selves u sp< cies of poetry ? ud may not poetry itself be
regartied as aa nraawral. aa IM wtHa; af At
thaugbu ;

ROSSINI AND TUE FRENCH PRESa

[lie Miaailff leMsr. aidnsssd to the eAse of a

" RbpaMUy

leahhnbftti

peem.]

Sir,

I seldom attend public exhibitions, my age imnoses
this restrictioa ; bnt time has not deprived me or mj
tasle flHr Aa Mode art, and music has the same charm
Ibriaeatwveaty, that k had in fliyjwith. Taste for
fba art! nalnniiy p rsdae sa attacbBent to men vrbo culti-
vate them, and being a total stranger to coteries and
cabal, which only breed jealousy, I yield myself only to

Digiiizoa by Gc

THE HAUMONICON.

tbe enjoyment of beaatifiil eMpmritioBB, let who will be
Uie Bulbur. Therefore, 1 have taken no side vith either
Gliicldits, PSccmists, RAaainliiti, or Mozartists : I ap-
BMOitto miuic acoording to its intrin&ic ucrit ; or, at
iMli Igrlhe MMritldiscanviBil, wkhm lUa
<hi ^iaL«Rtf AsMMMrlwiilMi Uli w

, tarn i B i i irf —Ij ia i u two tf m m by — .r-yiwrfawrf
bad. I am tbe alww «f no one, and the same feeling that
Bakes me exclaim agshut certain oatrages committed by
some journalists against l ur cHvine (>ri'iry, induces me
now to raise tay voice lu fuTiUir of u t'ltreii^n c«iii|>ujier
whose worlu daily affbnl us plru^iurt- , n fact that uii-
candid persons stoutly deny. It m said that M. Rossini
receives enormouii sums for compositions which he pro-
raisps, but never produces. I hpar, daily, that from
70,000 to .so.OOO and Li(),0:xi IVaiiLS is thi- annual sum
granted to this celebrated Maestro, in return for his pro-
mises. It most be allowed that such a treaty would bate
been as dishonottrable to the artist who proposed it, as to
the minister who ratified it I am not Kossini's friend ;
1 do not even know his features. I have been since tbe
jwr ITM in perfect ignorance of all manager's secrets,
as tbev mnddbe qnite tmintemtiDg to me at oqr advanced
aeci but I low trotb, ail low muie i and ahaaatlias
fuoedan Jaatnanent in mj tammkn wUck eaabhi me

Iffnn
Italian

' Ifait,— That M. Roflsini only
Mvemment 20,(X)0 frmcs as director of the

Theatre.

Secondly, — That in consequence of this payment, he
renounces all right as an author to tfWMki of feiicom-
posiiiuii performed in France.

Thirdly,— That henedvM no fodamUloatlon if he

breaks the treaty.

Fonrthly, — That likewise no indemnity shall be grante*)
him, should tlie authorities deem it proper to dismiss M.
Rossini ; a ^wer reserved to them without appeal.

Fifthly,— That a treaty has been signed witn M. Ros-
sini for the composition of two grand operas for the
Acndcmie Rovalc, fixing the sum of 40, coo francs
for the two; but this sun is to be paid only upon the
deliverv of tbe sooret. It ia Naaaaaiyj thought that the
sums thus guaranteed .to M. Bmiihi mSL not aibot the

Tbm Iba ayi— arti awde wHk Aa VUnmnlain
cMBpoiar ia eoniaad, in ihet, la Aa apaoiMMMrt of
UtfiOO fianea, «Wcii aa reedica ta the Italian IMreeior.
I tm aOQUoiated with secondary direelon who, without
J tlie light of authoranipi woidd with difliculty

t to change (iMir aaobnaeata «ilh tkoaa nniad le

•Rossfaii.

addreii tbcsr' racts, Sir, to joar imaitblity, and
hofit that jnw will publish my lattar, at a. Msnage doe to
tnith.

Am Qui Amatbuju

ON THE FKOOREBS OF SOUNIK

la lhaladi wnabor of tiM i^nw Bneychpedique there is
an aoeeoBt of a very extraordinary propoKal, viz., to
communicate verbal iiitcllii^oiue in n tew momenta, to
vast distances, and this not by symbols, as ni iht- tele-
graph, but in diiitinct articulate sounds u1ter«'ij h\ tlic
AiunaB vsice. Tbis plan originated with an Jwgiishmao,

Mr. Dick, according tn whose exnerimeots the owh
voice may be made lulelligiUe at ute distance of tweaty*
6ve or thirty miles. The experiments of tiae eeleWaiei
Biot have ascertained that sound trawels ten tiam r-^** —

Id ty aiiid bedi ei , or tbnagh taliea, thM
iHMrik Aa open air; at wa tbtanea of
more than halraaula tba loW Toiea of a man was dis-
tinctly hoard. At tbe tatler end of Oe last century, a
clergyman, named Gantier, conceived a plan of tratis-
mittini; articulate sounds to immense distances ; he pr»-
posetl the c onstruction of horisontal tnniiels, that should
widen at the extremities, by means of which the ticking
of a watch might be heard more distinctly at the distance
of innr> feet than when p)ace<l cln<ie to the ear : he calcu-
lated that a Hucccssiuu of such tunnds WodA tHMBit A
verbal message 900 miles in an hour.
Thia pntjaai k diall aMaglh I

MUSICAL GLE.WfNnS FN AFRICA.

The following extracts frnm ^lujor Dcnhani s and Cap-
tain Clapperton's Journals "( their Recent Trav. Is and
Discoveries in Africa*, will no doubt he arrpjiiniile to
our readers. From the e:iclu.stve character ot our work,
we are precluded from entering into a general notice of
this important volume, but we cannot withhold the tri-
bute oar Hiiiie of its ooalents, and
ilyla lawMeh UhMf

paiie of its ooalents, and of tbe traty spUodid
whidi it Im taw nwdaced

Ali«nieALBox.^)uriarhisilajatSaaha» (H^Oaa*
ham savs,) I Mcelved a siunnon firom the sheikh % t» whom •

report nad been made of a musical box of mine, wli!i-h played or
stopped merely by my holding up my fin(,fr. Tin- incvjcnirpr
deusred he was dyin^ to see it, md I must nuike huatr. The
wild exclaiiiations of wonder and icreanM of pleaeirrr thnt tins
piece of mechanism Jreir fniiii the penenUitr of mr visitors were
curiouslv contr^stL'il in tli.j [ithhii nf the intcllij^rnt slii'ikd: hp
at fimt was i,'rcn!ly nnlunisln'il, ,iii<l »*krd nevcnii n^ucstiims,
rxi']fiiiiiin<; ".1 i^irf' ■' t,'""'' •' "Womlirful ! nondrrliil f" but
the Hweetneis of the Swiai lt«nz-<k»-V«cti«s which it played,
at last overcana eitsj otber&aiiagi hs«o«indkii6ostMlhhii
hand and listened la sBsBM ; and eaoiw ma nsarliita ItrtilMMT
the charm by a loud exclamation, he struck him a blow wUcfc
made all his foUowrrii tremble. He instantly atkcd, " If one
twice as large wooUl ni>t be belter ?" I said " Ves ; but it wimlii
be twice a> dear." " By O — f* wild he, " if ihic thuuMnd dollars
woulil n irchimc it, it would be cheap." VV'lio will deny that
nature hjt* ^iven \ii all % titste fur luxiirio ?

MiLlTAUv Baniis. — Chiffi? in tliii piirl of A(ric« .iir Accom-
panied by ii-i iii.tnv [icriiunal fullowcrx io- tin y think pnipi-r to
nuuDtnin, bvtti at liurte and foot-men: konu; uT Uieoi furni tbe
banil, if 1 may no call it. Barca GanaX had five muunled, who
kept close behind bim, three of wbum carried a sort uf drum,
triikh hung r«ond tbtir BKkSb and hart tfaae while thqr sa^

• Narrntive of Travels and Di»covcriM In Konhrm and Crittfin
Afrii-a, in (Iw Yrar« IH!S. 1*7^, and Viy Mnjnr Konhnm,

<'i\p':iiii ( l.ipprrion, atitl 'Af I'v- I >udnrT, rtlrndiinr nciri-. iirr
Great IX'icrt, to Ihn Tmlb l>egree o( Nnrlhi>ni Latitvde, and (com
Kerim in Bonoe m aMhatae, ska Oipiul of AaMlaHli BtntiM^
«M a* Appc^. PahMwd by authority oT Ike Bifht ftanj
■iti Batlwnt, oae of Hi* Majeity't ptinoipal Secieiarir* of Slate,
aad dhniicaMd, by pcrmiamoo, ii> hi* lutd«laipi by Majm Divon
Dt-nhnm, ur Ilia Majctlr'n ITlli lU^fpiiMuit of Fua( ; and (Jupiaia
IIurIi t'U])ijetinn...f (111 Hcyjl N.ivy.Uir mirviifor« of liie Eipciliiion.
Ulii5irnird aiili t'uriy-foiii ragtaTings of peculiar iolcriM aod
novelty, -tin. Ixiiidoa^ ftkm T'

t Of Uotnou.

X TheSheikh'i h««<l gviteni! ; iii! «»», 1

taiy nudi, a Mack alMe Iron Soudaii.

Digitized by Google

04.

TBB HASMONICON.

inn aoTwu

IwTelNat

extenpore toofi ; one ciirrwd » mmiII pip* ")aH« nf a rccd, and
tJ»e other birw, nn a buffalo's horn. Kiml ari^l ilri'p-timnl bU<t4,
u ire mured liruuch the «imx! : but by f.ir thf niimt I'ntrrt.iinini;
»nd unfful w^rt" Ihi' ninninir fL«jtmi'ti, h ho precfded the kashclla
and aclcil pionciTH ; thcr were Utrlvr in number, «nH carried
lonif birkcd piile», with which they, with freat dexterity,
baclf till- br.mcbes, m thepr nwMd M Hi • wak ]; "^^
keeping uueii a path, which wtnU iritfMNrt tkMB mujr

' MinUei tbej, beiidee lliit. were roniUntly crying
nMUnf about tlie road, or tbe expedition, a« they went
AM. For example: "Take can of the hides ! -avoid the
bimnche*!— Here k MM iw4l-lake carr of the tuUMh!— it«
braocbes are like epe w a wane than*peanl Keep off Utr
braocbe* V " For whom ?" " Bare* Oaaa."— " VVTio in battle it
like rolling of thunder?" " IJ.irca Ganal"— "Now for Man-
d»ra t— nuw for tlic herd;.-, I— now for the battle nf B|icnr» !—
Who is our leader?- ■ " liana (iaiia.'— " Here i> the wadey, but
ii« water. ' — " God be pralsfd '." — " In battle, wbo IMMIc tMIOr
around him like a buffalo in hi» rage ?'" "'Baic* OaM."

The bMid aha nw mm wtaaMM vrim m mf J^tac
litem, ofwUdflM Mburlorti aawSy a. Utetml t w rt rti o n, and
4eligkMl dHir OMntmMlj.

FMahd af us and aheiUialw i
WUta mam, when be hear of Hrif.
F!m a«w loba giee ne.

Ckritiini UMi ■H whiM,

And doUan white hare he ;
Kaaourie like him come.

Black man'i friend to be.

See Felatah, >Mnr be ran ;

BWM OiU tbakc hit tpear:
WUM niBcarry two-mouthed gun,
Tbmtt «kKt Mka Fehtah fear.
TMi tort of oaeitlim anil aniKr. at once vwcful and exhi-
brai ni;, h cuDitantly kept up Util fte tine «f lialtiDf .

MAiiDAaA-FJrtaaillM wlofiiwl to the town,

imccM brtmni mi kMu lM«.ptpc>. «»» ""like
ileMt^ wnamanlca with aWfli. aad two bumiiM tfumpett from
twelve to Toiirteen feet long, howohymi «a toioMfk . « ^
of piece* of lioUow wood, with » Ikmo ■■am pior*t iho ooaads
ofwUeh wmnotuopleaiUif. ■

Bvracn w UWU on mm HiwwOTAiioe.— We had a full
awat lH a i l l «f caavindn? oorselrea that theee iineouth and
■tapndiMO aaknall arc >erv sensibly attracted by mu»»c*l
•oonds, eren Uumph they ilwuld not be of the softest kmd.
At we paaicd alony the border* of the Luke Muirifaby,
aunriw. they followed the drums of the different t.hiefa i
whole length of the water, tomctiiucK approaching «o ^JJ
the oh.ire,' tluit the water they ipouteil from their "»™'™J2SI?^
tlie J . rf u» who were paaing alo^ the bankl. I '""Sj^jlf'
at one time aporting on the nrfka : aad my i«rtat CojaijiliM
.hot one of ttem in the heMl. «ta he gmeea htHawr. ■■ to
- IdHalhiiitfMPMiiwiaaB

niatroni, corerin^ h«f faee with her handt. Theyi

ranie together with such violetn <> at to hurt t the bdt 01 1

■rt hii-b all the WDincn of nifik « .-ur round their bo^WMHt I

the hips, and ihowers of bcada would €y in etrery dhoMB^ WW
of theee belt* are twelve or aixtaea inebea trtde, and co«t fifteen or
twoi^ doUen. Addrew ii, homro-. oft«» attended, la thcM
iiealeeti, nHh hrtter lueoeM than attaagaii awl a weftjaa aaged
ftMewdielatthe noBent of the ezpeeM •■■MMmi, ereii
when the weight of metal would be rery unequal, oRentime*
bring* the more weighty tumbling to the groun.t. while the
other ■> seen quietly seated un.the spot where she hail with rreat
art and agility dropt herself. The Sh.>,: ii« were particularly
happr in these fcints^ which were practiwd in different wayi,
cither bv Buildcnly slipiiinL-- .m one side, niltinc or lying doWB.
I li;ul iiiit seen '5.1 ninnv pretty Women together sir>ce leana|^
f:tiicl;unl, fur, .ifl L-ii-nparrd with the nerretae*. the Sbooaaeen •

most white, and their feature* paiticiuariy handsome ; tan
assembly was to ae aavd aai gnOMog. I was. however,
Mmetimes turpriead te Had how maeh 1 kecame accust^imed to
the itaht of tbeac •waithirbeaiities. even •>«• to be able to look
■I them with pleamre. The women of Boraon and BejfharmI
danced with a much slower motion, and accompanied themselves
by sinping : tbe former wear (hnply a blue wr,i|ipcr or ? -irl over
the shoulders, and holding each end of the wrapper with the
arms extended, frequently threw themselves iut« very pleasing
and graceful, if not elei,Mnl, altitudes ; while the latter, with
Ibeir bands before them, v,m, tlnn . . 1 1 loijcther, sometimai
crossed on the breast, and nunu tinie* with only just the ti^s 01
the fingers meeting a la .Madonna, appeared to *mg »
extretue interest t4> the
sinking* of the body, 1

— all &ii»bed by aitting .

thv weia led eat of the Click bf *>M «U(r t

taie of

the bystander* : thi» w«» •ccompanied by
and beaiavetf theheaifrnaridetoia^
ig down ail camiaf *h« naNi when

MUSICAL liECTURGS AT THE ROYAL
^ WSTITOTION,

On Fn.lav. tbe Hih oi April. Mr. !^ Aianl>.WMI.IT C
eedaCoucM' of Lccturet on Music, *r •""g"'"^**.

and vocal examples, which are to be continued. JB t^TMatW Ot.
tho Institution. ever>- Friday, till the completfca Cf the oeaiia.
The following is a Sylbibn - of the Six Lecture*.—
LECTtjRB I. On M uiic. considered U thetwo-Wd Seaie ef a
Science^ and as ArU
II. On Muscat Tatle.
lU. OaMadcal Prtjudiee.
J IV. OntialNithietiimbetveeBl

aad OnuMienul Style. . ^ . , «_
Ob *e Qeneral Managemcat of Mailed FcN

formancet in EntHaud.
On the Advanecnient and ImprovceUBt Of Ha)*
■ical Knowledge and Taatc.

buried hiintelfin tbe Lake, that al Oe

instant.

Miisic AXD Daj*ciNo*TAF«*TiTAi-— Thefteal, AM^-

MUaud (the birth-day cfMehemaied) ii attended with nearly
^su. 1^^^^ to the Other ftait day* ; but instead of wrett-
the ladle*, on this occasion, dance ac-
ConUag toiha ihaUon of their country. The motions of tbe

■imilar leioicinga
Ihifsaiaoantae

Koukir women, though the leatt graceful, are certainly the most
entertaining ; all, bowcrer. form a striking contraat to tbe
lawarious movenienu of the Arab and Barbary dancer*— every-
thing here Ib m.,dc-t, and free from any mdeliciicy. ^
mence with those of the capital, wli.i also first « PPWrJil tBe
«rcle, the Konkowy advance by twos ami tbreet,eada l>ire*
Tancinf, retirinp. and throwing themselves mtoyartoaeainiooea,
accompanied by the nauic ftcai ayveral drum*, they *Mr.nW
turn their b«:ks to each oAer. and wffer thoie p«rt« wluch are
Ined ta'aaduiv the pomihment for all the offenrcs of our
»v taaaae tocather with all the force tbey can mutter, and I

V.
VI.

DDIOB FOR THE LATE EMPEROR AND KINO
09 FORTUOAL.

Oir Slliapdqr tbe S2nd of April, a aakan faneral service
was perfonaed at the chapel of the FMhugneae eubauT*
SoutaStreet, Grosvenor Square, to tha mmtjtf «f At
and king of ftetagaL

1. 'Acfadai

8. 7>iei Ira
X Offcratory
4. Heneilictut
B. Jfum* Dei

Moaait.

Digitized by Gopgle

THK HARMONICON.

We underatiind that this admirible selection wns made
hj His Excellency the Marquess Palmclla, nud it cer-
taiB^jr doei iMMiaar to bis taste. The Remuem of Mozart
!■ M iHril knowD, that it was judited adfiMlik to chase
greder ' portion from JomeUi^ a OMnoter, vbow
fawenU'and tmljr ebnsle 'mnie It too lltUe kiwini hi
■this eounlrj. Td add to the novelty, the OffimOorf fi«m
the Refmim of Chembini, ax lately pert'ormad at the
funeral obsequies oT Louis XVIU^ wai iatndlMiad, and
beard with great interest

As the music of Muzart is familiar (o amateurs, we
s'mll not olft-r niiy observations, except tu say that it was
adinir.ililv pi'rf<irmp«l throughout; hat we cannot pass the
Jti-rjtiirm ul" Jiimi Ui without a few remarks. It opens with a
suk-nin, slow niuvi'tneiit, which is again resumed in the coo-
cluiiiiig Ltbcra, auil thus forms a perfect whole. It com-
mences with a short, but impressive, instrumental move-
ment, in which the basses are managed with inimitable
effect ; a detail and hollow murmur seema lo swell from
the tomb, ana with this the voices impefee|fliUy riM and
intermingle. When icsnnad at the doee, anort bril-
liant movement inleruoMs; .it b a ray of hope that
pierces the gloon of the tepnlehre : the original move-
ia?nt then reliimsi and the voices gradually die away.
The Libtra of the Name composer is a masterpiece of
pathetic expression, and is charactprizcd throughout by
great unity of conception, and a must happy cumbinatiuu
of the various parts.

Tbc whole was admirably executedi and never were
the united talents of U|>agnuletti, liodley, Drago-
neiti, Sx., more effectually called into action. Among
the singers who distingnisbed themseWes, and who gave
the music witli the true chardi expression, were the
Madaawiedlai Mariaoiii i lfrt.IIiint; Begns, Pearman,
and a shigar« with an aaqaiijle tenar voieo^ «f tliaaame
^fGinbUel!

^e^uto of iHustCs

A RaouitM to the Memory of tlia late Mr. Sahubi. Wkbbb ;
Ma wmnh tf Mr. LiRLar. tmd tit fa wuuk U9 t rm lfy ly

I.iinl Rl Rr.ltKIMH, Mcn-«. LiNLEV, M'. KvYVRTT, flAWR«,

Elliott, Hkalk, and EvAna. (VV'eiiii and Hawea, US,
Regent-iirtet.)

TiiK hisiory of this work ii Una given in tba iMndne-

tion to the volume : —

Mr. Smurl Webbe, the diitinguinbed Muiician alluded to,
WHii nppninted to tiie oAre of Secretary to the Noblemen and
Gemieaiea ■ Catek Chib, vacated by the icaignatioB of Mr.
VancB Borne, b the year MMw The tm», bowersr. thns

Kposcdb) liiiii. tlioiiuli in'inlvini^ a variL-ty of il itirs, :,n,! ifrcat
ICspraalMlitj, did not discourage him from coatiuuing to enlarge
and emieb these stsfes orM%lliU Obeii <M. efnMd) ttat oM
and MgMy respeolsiWe Sedstyaiatha paBssMnt enttesan-
Voi.1V.

trary, while the vi^onr «f his miod eootiBfflsd nnisnisirsdi he
broufht funrard, fromtlais to time, many rscenent conpocHioas
both of a MTiiMit and rhccrful drucriptiun ; iuxl tu gitai was
the venalility of bis genius, that pustuity nay find it diOcak
to beHcve tbat tbe idnd wbkb pradaced Ibese btgWy-inMud

nnd fiinril'iil filprs, "Whcnwin ^s ')re:it!ie »nf>," aiiJ " Hi"nce
■II ye vain delights," (two vonipositioos which breathe, if the
eapsssslsttssaj be used, the verjrfAdMajNljpafsoand as applied
toiaatbnent.)ca«ld uabsad to the adasbab^ bumsioaOetcb
air *• Vfould yoa know my Celia's ehanm," and soar again to
the festive iuspirAtiini «f " The mighty conqueror »f hearts!"
As a tsatimany, therefun, of the respect of the CIuli^ and their
regard fiir their departed Seentary, tbey came to the resolutiea
■ tf jireipniinc a Priif Med»ltothe Coinposcr of tlip best Re-
quiem to bis memory, the candidatca for the Munc tu be coafined
to the meetbers of the ChA. It was farthtr icaalved. diat the
Poet* of the day should be invited, by public sdvcttliCflWnt. lo
snpply the poetry fur the nccasiun, on, or before, a stated period
of time. Many puemi were consequently seat in, and a Com-
mittee of the whole Chib was timimoaed to detcnaiae upon thair
respective eieilt*, and Ihialiy to rleose soeb words as they dMoild

ju.l^i- til-.' >, I'-nl 111 llif (1. i-;i,;i,ii. Tin- lii.n of jurtial

I'ecliug wliicb wiii siMueliuie* mix iritli tbc utost rigid reaulutions
tobeJartwheaaeaaaHsef tbeaulbanaielaMHrB, csaldnst^
in this instance, influence the menibsesj fat the eoatribotiuns
were, agrerabiy to the conditiotu of the advcrtisnneirt, sent in
without signatures, and written nnd directed in a strxinge hand;
neitlier was it lawful for any member of the GoBHuittae to giv*
an opinion of preference pieviooaly to the bdlet.

la the pleasing wish to perpetnate the remembrance uf .1 ni:<n
not mora distingnisbed for his scknce and fancy tliaa beloved
for hit private vlrtnesv most of the peetical eonlribntors oa Oe
i.i r.i-iim lnrL'tit, ivliili: [>r.i-liiriiiij tome very beautiful poetry, that
one great recommeodaliou would be brevity. Mr. IJnley's Poem
was aaloaly aasbeitaal aeal la, batef a man ^riical een-
strnction than the rest, and mors pointedly sppKBabie to the
peculiar merits of the deccawd as a Cumpoter.

The prize was awardiid to Mr. Ivvans, " on the l.'3ili of
March, ISls, to whom tin- medal was prcs' iilid I'v the
President of the day, His Roynl Hi;.;lim ■^s tin- Dnkr of
Sussex." The delay in the juihlicali lU ihp various
pieces offered by the competitors, has, we are informed,
arisen " from causes not now necessary to be detailed."

The ibUowing is the Oos» " aelcetad by a cmnmitiaa of
tba Oaldi dnbt" on whiek tlia teven gentleHM naMd
in lha tilla-p^ ccaKiMd tlieir lalento:

Chant «o ricqi.iciti, s.ilciMti, :iiid SWCOt;
And mute awhile, amid tiie festive tbruug.

Be Jsfs l Bi| lri ag aaagi

Strew we wUb cypiCM beagin the Mossir sent ;

For be, th« Father of the ran ing l«y,
Of pain and ikkneM long tbe lutferiag prey,
gliks to tta giBM J aad Icarei uustrang the lyte.-^
MM web liinid aala-eatinct ite mcied ire. .

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TBB HABMONICOK.

Iirttar(lH*phiiie*ei

Was it '• Thy voiif. O Harmony;"

AMdaw'i magic Ijne uiu(nui|p —

m Or •miriiu'd MBM t» tank ifriB
ehofdl, lo iwcetir wild, so full, to denr ?

It iM»% "tiwfiil KRudr-— 4lw diatut ImU
mfmmlM to tin AnOmn nnll

» Um parting tribute o*er hi* haUow'd bier. —

** Whm winds breatiw Mftl^ whm nrti Awefcao'i cbj.
RvBiid our lamented Mtaatrcft tluhw

Shnll "Form* umeenf the deathlctn nrcathiHlwbM^
Soft wmrbling in the breeic the tribuUry lay.

It generally happent in what are called the sister-arts,
that when the mina is tnlad, its creative |)owers are di-
minialwd. Fane; is no more obedient to the call than
GIendower'8 spirits were, and is not less avefw to icitraint
tiuui, it has been said, Lave is-to whatever afpmn in
tfie shape of haman tie. P fe a a fl w « i n y eB l , tii 9x the
pwiod for ito hdaf wnmght Mp into a w a t M ag lhat re-
quires inventioa, and the chances are many to one, that
the efforts mai\r to necamplish the object fail of success.
That auvthin,; in the shape of compulsion is a mortal
foi- til fain V, l^ a truth lhat hits li-nir In i i! acknowli-ilgod ;
and til a!(i'in|.! Htiv Work of pcnius im itn Mrrwria, has.
Jar figes jwst, 1)1 i n cinit'->-iKl to hf a iniitless enterprise.

But, il may be asked, how dn ttiesi; observations apply
to the present work, seeing that im one of the competi-
tom for the reward wum (Kjund by any promise, or com-
pelled by any duty, to engajje in the undertaking ? We
giant that the candidates were not pre'^sod into the ser-
vice, that tbey were not, as th? iVj^t Laureate is, in-
teaead by the fear of losing either a salary «» a butt of
■adi; bat the tomptotion onoa eAiai, udmkn stepped
in, and the terras, MlpOaif ones, bein| voluntarily
accepted, the rest foHowed. We dutlnelly tnwe this
want of free-will in most of the compositions before
Its ; they se<>m circnm-slancc-bound, and we much deceire
ourselves if any "f thetn was brought forth in the spon-
taneous manner that otiier works, from the same p?ns,
luiTC been produreil.

Mr. Linley's Ode — dcnDniinatcd here a Rerjiiiem, the
moment tliat niusicLil suuods are adapted to it — i.s set by
each of the coiniMJsrrs for fuur voices. The first is for a
soprano, an .ilto, n tennr, and a hasa ; the net ara fiv an
alto, two tenors, and a ba.se.

The first, by Lord Borghersh, begins «lth a solemn,
veil-imagined adagio, in T minor. The four lines com-
aendng at " Was it thy voice, O harmony !" are set as

a oanan in the nnison for the ^rea npper voices, in a
laadinthice-AnrliBia. Thh is mare daborate th«

JhttaadinthTCe-Anrlina. Thh is mare daborate than
alhctl i t . The fomer leu and movement are resumed at
the words, " It was thy awful sound," thus judiciously
making the churns reply to the question of the scmi-
ehonis, as the cnnoti may be called. At "When winds
breathe soft," the time" is a little quickened, tlir key
changes to t major, and a very pleasing (quartet, each
pvtof wUoh ia repeated in omtm^ Ii finaliia Ilia Wa

• " Thy vniec. O Harmony, wiih nwfnl *nuDd."— ff>Mc*t dMf.
t " Whrn «rin<!! brrnthc m>(t along (he -hntiup** JM.
t"Bj birf hutdi Uieii kaeU is taag,

Adarahiai

Tba good sense with wUehtUs niovenent is set, is par*
ticalarfy deserving «f notice and irailation. We must,

however, remark that at the end of the first strain of this
quartet, a quaver is wanted to connect the two strains.
This note ought to lake the woni "shall," wtiirh now
falls on the accented portion of the bar, and leaves the
an tha anaaoeaited part. Iti

With this alteration, the bar marked 1st time (page 10)

must be erased. We also recommend another correction,

at |Ki;;e ,i, first bar of alto, where the K nntiinil should
1k' u t1at ; and, of course, the siicc'ei:din<; note must be
the same.

Tliis is a composition that manv professeil mifiicians
iruulJ be huppy to own. As the pnxluetiDn of a (lilel-
tnntc, it is cnlitle<l to a high degree of praise, whicli we
bestow as fearlessly as we |xiin( out its defects ; being
above supposing that we can be gravely chaiged with
hnvins our opinion influenced, either in ikranr or agaiaiC
a wors, by tne rank of its author.

The second of these b alio by an amalenr — the writer
of the Oda itsrilf-Hi gaallenuui who, for originality of
design and lor swaetness of Bcnnine nidody, is surpassed
by none of the glee-composers of the day*, and equalled
by few, very few indeed. Though his present want data
not strike us so forcibly as some of his other pradttctiona— •
because, |)erhaps, more anxiously, and therefore more la»
h' 'rinuslv ci)m|)os('d — vet a stn)n^ feeling breathes through
the w hole of it, and kwps the hearer's attention alive lo
the end. It opens in c minor, but IkjIH key and time change
fre<|uently during its progress, and it terminates with a
movement in c majnr. The few bars, page i.',. at the
words " Silent enrh liquid note," are most hap[)ily con-
ceived, and as well executed. Further on, paj;e I 'J, fifth
bar, the chord of the inh and 4tb on the last c would
have pleased us more, bad it rasohed natnnllj into tha
8th and ard, in the Cdbwing nutnnar}—

Grave.

• Mr. Stafford Smith and Mr. fterent, two of the riMtrx oma-
mcBti of our country in iMaMyle of compoaition, ace •till Uving,
labiiw; bet beiOK Mind feamsstitre tils, Msr he csntidend aa
(o the laatac*.

Digitized by Google

TKK RARMCMIOOir.

The mimed elegant panaga tvmtm dn cbw. page it,
ifenoitinMrt. XhsnavdianABlutttiwar tktOdc.

, II I J «

The melody of this is iheii given to the first tenor, the
aecond movioe with it ia sixllu, and the alio and base
holding oa Q MM* ud bdvw ; pirodaeing a verjr cbarm-

> lUrd cf these gained the prize, and we have en-
Mad, tbengh unsuccessfully, to discover its claim to
I a dietinction. We find a great mixture ol right
wrong in it. Of the first arc, the diminuendo at
"extinct." and the pianissimo, instead of a mistaken
forlr, ul " thy .nsful syound !" Of iho last are, the two
latter sWlaLles of the word lii quicm, trculei] as n mono-
^'Uable, fib lo sound lilie qiu m; the atxeiit throw ii on
*' and." in.st'.-nd of " nuitc," in the second line ; and un
"for" instead of " he." in the fifih line. The quotation
of Webbe's own four notes, on the words " When winds
breathe soft," is well judged, thonnfa their time is changed
from common to triple. Probably the triumuh of this
«om|K)Htion i:> to be a.scribed to a happy mode of per-
forming it ; added to which, it ia abort, a qualitv which
augments the ellect of the beanliM, wid diaiiniahas that
«f the imperfectiont.

Hie composer of the fourth has not been ao snoeeasM
•a tuna] ; we f ml much of his gentle, good taste in tbe
IWesent eflbri, but perceive a want of novelty, and an
instance or two of ( rrum ous acceniuaii .n , iw^eiher with
a sprij;htlineNb uf uir a', ihi- second and ilurd It ties, which
is (iiiiiiilrii III a iiiis,iji|,r' lirnsJon ol llif ir iiiL-Huing. Thc
laiUT l.iiili i;, .jrjiiu.l\ apfjfiretit in the tilth of this set:
while the jx» I iMiiriiJuiilb a siup'nsion of all festivity
ami JOYOUS sonv, the musician, ni lioth the present and
that immediately preceding, GUsi bis air with vivacity,
and strains his voices to tin- top of their compass, and lo
the full extent of tbeir po»er. but the harmony, in
this lost, is particularly good and i^pvofriate at the thir-
teen ih line.

The aiKlh ia a adentifie, dbwr compoahioB ; bat the
aathor falls into lha latt-aMMionad error, pretitely at
the MUna pohl. Mr. WIUmb Beale is tba wAj one of
the aatm who mahes the word thy," in tbe tenth line,
anpbatic; it is singular enough, that though the poet
kas friatcd it in italics, he himself has given an unac-
CMlad note to it.

In the serenth and lost piece in this TolutuL-, thc com*
poser has been betrayed, like some of his lellow-candi«
dales, by the epithet" " festive." and has dashed into an
allegro at tbe moment when all gaiety is forbiddi n Such
is the oonsofiuenre of regarding a single expression, wiU>«
out oinsid. ririir the sentiment ! We perceive also, that
thc word liiquiem has met with tbe same fate hm aa it
experienced in the third, and is reditced to two ijjrlhdlhMb
Mr. Uawcs, however, shortly afterwards repents of hia
injustice, and restores it to its trisyllabic rank. Thft
accentuation of this piece is asdlr in want «f fOfiiioo i
but there is a passage or two Uilafmnie merit; that, for
inslanoe, at the line «• Rcspwriffa to tbe anthem's swaU.'*
_This is. upon the whole, an interesting work to the ad>
mirers of rocal harmony : first, ou account of the charm-
ing composer and excellent man whose memory is thus
ceTebr.'iHil ; .'un! ^■xuinUy, hccaoNc it shews in what man-
ner .seMirul runtt ni|«ir.'irics Ireated the same subject. The
volume should he ^;l:s^f■s'.e<| by all glee societies and sing-
ing parties. IhiUi bicuuse its contents will add to their
means, ami as a murk of rcsp^t to tbe memory of one
who has contributed so largelj to tbeir happiness— the
ingenious musician ud aecOBiplbbad fanttMMn, 8(4*
HUn. WSBBB.

1. Fawraaia mi Kaiivo Baituairr on Mt<

niulicr's March, cotujiotnl hy 3. MnsciiaLli, Of, 6flL

(CIcmenti, Colknl, and Co., Cheapside.)

8. " Fin ck° itaa dal vinu^" de Xtaa Jium, KoaiM Camuo*
CMOOk sss y si l poMT It PiAiro^onii^ jmt t, P. Piaia*

Tbe first of these is one of thnse composftions that am
always welcome lo amalcnrs, learners, and teachers ; it
is fuU of air, popular in its style, shewy, fiseful fir prac-
tice, and though brilliant, not difficult fur tolerably good
performers ; and, to crown the whole, hears a name of
great emtnenoei Tbe subject is well known and da*
senredly admirad abrand, where it fans long been pnb-
itdied, thoMh we never belbre saw it in prist in tUi
oounti^r. lae eompaser means, throughout tbe whole of
this, to render himself familiar, and has suoeeeded per-
fectly ; but every here and there, bis scientific bios dis-
covers itself ill some unexpected mmJulntioii. or clever
contrivance, v^hich proclaims the master in the midst of
bis revelry.

The fine festive soni{, from Dun Giui'onni, wants very
little alteration to convert it into a piano-forte piece ; it
is so brilliant in its air, and rapid iii movement, that it
hardly requires words, even on the stage : the orchestra,
accompanied by the gesture of tbe actor, would be suili-
cient to eaplain the poet's meaning. II. Pixis ba.s not
interfered Mith tbe melody, or its accompaniment, while
tbe former prevails ; be has aognaBted it by sccondarjr
sniyecta of bis own, and, at page S, has skiJfally in-
tredneed a passage titun the avevtaw to tWi -wiriralled
opera; a reminiscence aa the Frawh weald siff— which
has an excellent effset. Tbe boldbig-nete of f m haim
in the treble, page 6, is not calculated tor a kejmi Inalra*
meui ; perhaps the engraver has omitted to place ashaha
. Bat whether this oonjectnre be correct or not*

P %

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THE HASMONICCaV.

we coansel the performer to ill up the vacancy with ooe.
2>e lalndMcUon is rerj muterljr ; • dvw puMge of
Uu hvt H eweUenl, and the raenediiic cwitaMr is full
if laste. Thi«i«qoireKanimU«toger: MtdMenlchets
wd quavers, of which it it cUaiiy mda wf, g|va an ap-
pearance of sinplieitjr to il, wbieli poaiiUy k lealUjr
malie it moK eaqr to the

1. le Beatak, • Romto ftf tkt Piairo>PoaT«> nmpaied hy
Chaklm Nbatr. Op. 11. (Cnawri AMtum, and Beale,

aOl, Regcnt-ttrtet.)

9. A PASToaAL Dakcr, hy Henry Bitlnip, arranffH for the

PianO-FortB, iri/A Variatiiins ami Cndii, hy CiiAltLSH
Nrate. Op. IS. ((iouldiiiR »iid D Almainc, Soho-sqiiart.)

The first of these is in the character of (he waltzes of
th« Tyrol ; a pretty, lively air. with a strongly-marlied
^tgrthait that will mIw tne heofen ioToluntartly exer-
•m Mb heads and hand* In 'nodding and hoatinK time.
Iff. Neato has not rendered this aa eaajr as ha niafat have
done, fnr many of the pa^ssages lie annerenarily awl-
ward for the hand, and are diffiealt to execute, witfmni
that iiind of effort which, from the nature of the piece,
shmili! 11(4 liiive bi'cii cnllci! frT. Kiit there are some
good (ja-vsajips in it that show classical rrcolleciions ; and
those wlio a<linire the tinkling of the cxtr i-nildilional
lieys, will find hi'tv abundant o|)|xirtuniiies fur bringing
them into active pl.iv.

The second is not inlcnded for tlie nuiltitnde ; it cxhi-
bttaaeveral alarmins; passacps. hWndod will) others llint
are ^rreeahle. Amongst the latter i.s the melody of the
first variation, which is new, and flows on in a soothing
Strain. When the baae in tfaia hegjna to move in semi-
^jaavera. anma diaHMtnt notaomr, that eannot plead

Li flio*AuirtL variatioa aiw^wMpboM «fl'ee<a; and the
ModnfaUions in the Cuda are full of enterprise, though we
laar that they will prove •* caviare to the general."
Mr. Neate, who is one of (he best piano-foric players in
Europe, estimates rather \m hii^hly the qnulificat'ions of
our nniJitfur porfiiriiu rs ; il lie wishes 1u r iiicilinti.' the
manx, lie must i ridi .ix mir Id smooth the path tnr tliem,
rallii r lliati danip ihcir li.,p«>s by throwing in tliL-ir
way iwbat to them will prove obatacles of a diaooura^ing

1. Si'NATiN.k, fnr the PlAWO-FoRTR, tTi/A an Arramfiani-
. tn^nl fir Violin or Flutk (wl lib.), eompatH an'l fin-
g/ertd 6g J. B, GnANaa. Nn. !• (Cnuner and Co., 801,
AeftNl-ilrMt.)

9. The farourilf Fri ri<l, Air, Le Portrait, teitk Fmriatioiu
for the PiANo.FuaTR, eompottd T. VAi;,«i«Tia«. (T.
P. L al naf lata ClappaU awl Co,— W, JVm Brnd-abtaLi

Sp **CSanMb LOVC^ tome,*' lAe Romance eompotnl by Kisnnp,
mrrmtgid Fmrlttlioiu far the PiANo-FnaxB, 6y O.
KuuHABB. (OonMiairaadOa,Cato4|Mi«.)

C0KVO8EH8 of the first rank, if experience<l teacher!!,
•anfar a great benefit on both learners and masters, hv
devoting (heir talents, now a- d ilu n, in rasy works for
hcginners, and supplying young practitioners wiib such

materials, as may not only form the hand and strengthetr
the finger, but also cultivate thetaatCi and lay (he found-
ation uf a correct judgment at tht tame time, de-
menti and Dikssek produced many cacellent tUl« fat
this purpose, which good instraetora, who ara not narftd
«rhaagdMM|bt BQUiie, atiH ■••» md «« hape vOI con-
dme to eDplaj. Mcverlhelata, than w9l always be,
from various causes,' a erfivilic Ibr what is new, and if
novelty docs not come from ame professors, that which is ■
fiiniisfied hy inferior yM oplc w ill ohtnin a sale. M e are
glad, thcreirin-, 1i> find that Mr. Cramer is turning some
of his attrntmd tn so iisefid a jiitrinise. The present ele-
gant liltlu sonata is, we hope, to be followed by many of
(he same kind ; ami if (he (itle he occasionrdlv thnoned
into divertimento, and the form varied, so as to give ron-
dos, mardies. Sec, the wish for variety will be gratified,
and (he necessary excitement kept up. This isin thiea
movements, — an atttgro motltruto of tnree pagea ; aa ra>
dnnte of one, and a rondo, aUegrrUo, of three 1

No. 8 is the charm{o|^ air published in our verj 1
number, to which fmir aninutad, pieaainf variatiooa ava ,
added, with half a page of Jntrodudian.

The third ia a alow, expressive air, Aom Pauthit,'
with &ix variations, and an introductory movement. Both
of ilie lavl nrc ijui'.r casv, and being adapted to nearly
(he same descripiiun uf players as the sonatina, vv« have
claned tba three tagatiier.

I. Twanty-fanr IfAauaKAs, or Matiohal Poush DancaSr
MKtriidmmdmrrmngtdfirUu Puaa-PonTa, «Mlfw;pcaf>
dWfeaterf to the Paiaoasa Faraoi^ MaaiB 8sT-
iMANOWSKA. {Booiey and Co.. SH, HtOtt-itrtit.)

8. Citlcdonia, an Air in the Scottith rifle, mllh Fariationt for
tk* PiAMO- Foara, mud «a jlceomf»mim*mt {*A lib.) ftr
Ha Pbvra, hf W, Liaa, Jum. Op. M (ClamMMl and Coi.)

3. DlVfiHT I >i F. .N Ti I, f'lr <lo.. \f!iTlr't itnii arranged fitKHtn^
SIMI H Oftra, ^liiiira, bg \V . ETiibRIMOTON. (EaVCtlallt

OmrtJiHssHMme, W ssss s lwy.)

4. Wsippaar** I7IA IM tf DxAMATto QuAoaiuas, Mrl,rfr,r
from fofourito OpnmM, 4re. tft.,for file Piaso-PoaTx, 6y
Jam Wairaaar. (Cleaienti and On.)

M.\ZI RKA signifies, wp pres;inip. Waltz, orValce. in
the Polish lanui.Bte, for tlie uliove difler in no manner
that we can make out from the latter kind of dunce.
Kach of these is in three-eight lime ; most ot tlient con-
lain twentv-fonr bars, tome less ; all tlierelurc ore short,
lor the whole are comprised in thirteen pages. They are
exceedingly gay in sivle, and brilliant in efferl, lying
well for the hand, and re<{iiiring no extraordinary pnwerr
of execution. We hardly neeti add, (hat they are the
compositions of (he accomplished lady whose charmin|f

Eriorniances on the piano-forte are well known in tba
ihionabia civelas, and which annaal^ are heard at her
nMMfuin|{-coaeei1 in the Hanover-squara Raomt.

Na S brings Mr. Ling again before ns, in an easier
and more simple shape than usual. The air is a good
imiiation of the Caifdnnnin ■'^'uip, ns Dr. Kurney called
if, and the variations are moderate in length, and cha-
nielerislie.

No. :i Contains some of that music from Rossini's
opera whitli lias upiK uri d 111 tliis uork, as well ns two
Other airs from llie same^ the whole oomlrined into an

Digitized by Gorxyle

THK HAiOIONIOON.

ibruicf s.

Mr. VVappeit hu ckmra Home delightful old Knf(lii«h
•in fat hit pteienl wt of a«adrille«> from-T^ Momm-
tabmn, Smni L»9ti»u Ftwy*. and itrtojurMt, which
MMW the brtnl csfPMirijr «dS» amMdi we eM te>
concile Mfidvn to ih« naellet 01 eonverHof the hest
drnmalic melndies to niCD a pnrpow. We know those
vhodeclnrc, that they derive pleasur« from henrtnc ihcm,
eves in (he bnll-rcHim, beoMUSf they join the fWNi nml |ir<;-
aent ILf^s topotbcr, and pimhle them to imagine that they
wf! in company with ihcir parents ami chiUna, all in
fflU Uoom, at the same moment.

mnm worn m piAvo^roRTR.

I* Tk» Mn f«. ft* 11 (hrorlnto In CefKn. amngrd (u Dvin»

firhmPiifirmeri om the Piano-Fdrtb, Ay T. Attwook.

lf«o^t 9 and 7. ( Clrmrnti ■nd Co.)
S. PKR<iULK<rn " (ilKria in fxrel>i«," adapUH at a DuBT fir

the uimr. hy W. KthrriNiiton. (EHmlnB'.)
& KiALi.MARK'i Fnnfiirc ait't Gcnnnn Air, iri'M Variiitiont

fir ito„ Ay tht Author. (P. T. Latour, t/O, Ifrte nond-tt.)
4, Bodr's March, vitk FarimHimMffnmOpum lO. amtngnl

' M rfa, *jf A. C. Waireoiraa. (Fajrw unl Hopkin!:.
OirMliV.)

Wot haring reeeivi-d the fifth hook of Mr. Attwood's ar-
Tan«einenl of Meyerhoer's njiern. we conclude that its
publiratinn is delayed ; thcri'fcrf now mention the nixlh
and seventh, »hith toiiliiiii llie Riini!Ui<e. " (; inelio
Ca^filier," at fiiil Icii-ifi, niiikinn (i (teliyhtful ilin l ; ihe
grand chorus of I'riests and Knights ; ai,d the splendid
finale to the first act. The latter orrupies one entire
book, but, from the varielj of its movements and odonr-
ing, seems by no neans Iook, and form an arimirahle,
hi|!bly-wrmi{ht — ikal cliaMX, terminating uiih the
hnliiant march.

The favourite aMwemnt from Pergoleai's celehraierl
mass must |>leasei let it aniear in what shape it may , —
imVided it is not cootrerted into a dance-tune. As a duet
all its pam are bnwi^t out. and the fiandest of its
rt ha n are p wnr ted. The pvefmii adapter haa eMemed
Wa tarit «dl, tin he arrhrcd at the end ; and here we
Vrae larprii i ej to find \ fortr marked, where Ihe author
has most earefully directed that the utmost sol'tnes.s nhould
prevail. The word >iei to ih.->e rinal notes iti pm >" —
perhaps Mr. K. wns ihinkiii'^ nl' jm ex bf.'lv. Ifrhaps he
Oiilv lli<ni;^lil (,i oi.diii;;, 1': I' I't'fiininri \ with n era.sh.

Mr. Kirtllmark hn.s. in No. .'i, lonnd cmt the art of
adaptiiif; himself. What an enviahle talent ! — Hy the
way, he bhoidd not claim the (ierman nielraly, so «ell
known a.s Ihe Bavarian air, which he seems to do in the
present tille-page : all the hhare that be has in it, is Ihe
change, a gHatmaa one, from triple to daple tiaw. The
duct is very easy, and oalcnialed lor jnanii; performers.

Rui.'i-'ii March aMkea a good duet, as all marches do,
for ihejr require Inlncss and power. Mr W. has not
slodicd to resider lhh» inviting to the camnoa ran of
plajefi, far ha fcaa intnidaesd anaievery awkaard pas-
Mna, fbr th« left hand paitieolarly. We remark on
ttb. beranse equal efleets mi^hl have het-n produced byr
More simple roeanii ; aiid where that which eMise> tron-
Ue can he avoided, and ihc Kume result h<- ol.inined, it
Is aUay s wike lo ailopt the easier method. LxcrciNes,

ami pieces io< itard praeiioe. wm^ be esflcpted from this
fBle, i ducriUom.

foreign iHustcal 3El(poit.

VlBJmA.

a * " *

JmtflkdaM Ulcalsr,/— Taa oaly Ihinr in tlw shape of noveltf
with as. has hcen a aew maifc opera, (nntbinfr now>a-days frufs-

down but nuiriG oprrai.) Pirtitlco Die fhrlUimffirhweMlem uad
etrr IfaUgetU (The Weird Sa>t«TS and the tVuud>iipirit), the
uiunic by Kiiitte. All that can be said uf thi« compuiitttiQ is, ,
tH.1t it ii tiiperlnr t4i the generality of worki of this kind, and
li.n >.iitiic plfa»intr 111! I.Klii>«. Itmidei thit wan jri<»n Die
l>>-i,l\rfirii I'r.-uu'lr (Tiif (irrrii.iii Frieod*), SO hintorical piece
in thrrr arts, "liicli is it l,iii<i nf p:n.tii-rio niiide up of f»vinirite
air*, from different roiiipmrni. itnti at II r rum liisimi of which
vre had our iintional nnthrin, tjott erhalle trtim den Kaiter^.
wliii h «lira\a nppcart to hare a mafpral effect, and cinnei uver
Ihe ear with ail tlie fre*hne«s uf a new rooipuaitiun. Neat was..
Ortoy's epsia of Jbmd^hi whicha Mr new to aoritogekof
the aasie of HMksranan, ohidnsd coniwrnMe socens.

LfpaitUaJi Theater.— We hare been treated at this theatre
with a new fairy opera, entitled Die Znuhrnrhminte or Ptu
Land iter Erfindungrn (The Land of Invcntiunt), the SMlals
hy Kannr. Thia pirre pleased much ; indeed it rauM not
fail lu do i>llieTw!M<, f<ir hiJth (he uitistc and decuratiun* are
adapted to ilic popular Ltirte. 'J'lie writer who is content with
tlif niiliil julv nnliiijo uf Hir rHdtm iit, and nf\eT rare* tu rati a
(■irii'lf t'l im r iinr.TriJ* llir hiVin', t'.riiU lii» airijiiot In tliis iiiiMle
»rral<rinir I'lr the piiMir, ami iiiiLin);- »'ii-h ratrrem .M. K.inne
is one of llic bo'.t. I'licre arc rc illy several pieces of merit in
the opera, and some of the toogs are pretty, aitd will oo doubt .
lie soon ke4rd upon every barrel-organ in every ttrret of our
musical capital. Betides thia we had a fay little piece called i
MU Mimd ru*t§nUkH CAN are Married), the owsk hr Kara-
thrner. This Httle opera trends pretty faithfully in the feottteps .
of the one ive linrc Just nientiiuied.

The Kni iilfiurrtltor TArafrr still CMntioues cloard, but we are
rejoiced to hear a report, npon whii h we think reliance may be
placed, that Barlwja hna i>i|^ii(d a coiitrart for siMr-ral u'ara, as
before. 'I'hi^ will enable ui aeain lu cnJuy a treat uf which we
at proem v n il l . icel tiie pHwiHim ins geanjae pradactieas

of tlie \\ rir ini.M'.

.ArtiMilif III- iiiii-ir.ll |ir'i4ii!-tiiprH piiliIiHliC'l lifre, rhn-e

the most »p4>krn of are two fiin iiimrnti for (lie piiino-forte and
violio, bv G. Mayteder, as mil at a Trai fur harp, French burOi
and riulln, by the tameecmposer. There i« aliui much talk of a
gmad JtcyMMR hjr Kspenmciiter Bthlcr. which is in the pens,
■ad written la ttie duwch style. It'is said by anatean who
base hsaid the conpuMlion, to be a masurpieee ef Us hhid.

BERUN.

Pie Konigitidt AMfer*— Wb hite had snBenoseMcs elnee.
the last repurt we aent from this place; the principal among
thrte bare been Her Sehmee, (Lm Aefge) uf Auber. and the.
Crnrreufola of Runini. Both were excellently performed,
and obtained iinequiroeal suri'ex.. 'I'he I'umier was regarded
hy the critic* an ')eiiertin< lite I'anie v likh it haa obtained
in aevernl placen in (ierrnanv ; .nid with rcfpeit to the latter,
it it Considered »s » riit> ii in l<H>hini « bcfit manner, and as
chararteriEed at mirp In giria t'aiely uf cUnt. ;inil lon-
siderablc ocfasional trinU riien. It cunlinuea to he |ierruriiied
to iiverHoM iti|( iii'U.^ei.. iti sidea thrte wc have had luu niinur
pin e*, wiiicli are not driii'ient in incril. First, />rr Oei*l auf
'It Hatiry in H irH (The Gbtial of the Kaanaits nf VienaaX
the wuaic bv Vidkcrt. The whole is a ceaipnsiuoanr spirit, aal
(WO ain and a .dock are hscoaM jpent farouritcs here ; hidsed
t hey have created a very farounbG inprnttim with reapcct to a
eoiniMiier who»e name is near amon^r us. Second, Iter Oier*t
uhJ Her Srrgrant, mler IHt Utrt-nfr drr Krirgifrmhie^ the
inuae hy Mii-ie -director ilennin|f. The ovcrturt is upoken of
a> a coiiipiKtition of considerable nient.

IHe Ki'Migtitchr Tknttrr. — .\ new eoniie opera in one act
fmai the Fmwh, entitled l.r Concrrtula f.nur, n„ la Itrhulnntr,

tht ani^ hjr AubM, haa pleated catrcnely. It cauic recumoicDded

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160

THE HABMOmOOV.

by the intcrcstiiu'- [i<it'^rc nf the ntury, the |iliNti<iut^ chMMttref
tbe mutic. and lUe aUininible manner in »liu'h it wu npre-
Mnl«d. AlmMt all the linrlc pieces weK receired with ap-
|d«tts«: indeed th« opera abiNiiidi with a number of veryde-
feghtlu mmI uqmiiivw Mladin.

On MCMlon of dw blrtb-dtif of tte Ctawn Prince, «n
hittorieal piece wni prodtieed entitled Alung^u, for whieii
KapeUmeiBteT SchneHier had cvmposed an oTertnre. and lereral
tin UtA ehoniuei of very superior merit. The former ia
Ml 'ofttrikin;^ elTecta, and the lonn malie oi regret that the
eompoter ha* not more exercised his tjilento in thi« depart-
ment of music, for which he lijut shewn hiitmelf lintfularly
gifted. A too grent partinlitv for powerful hnrmotiics and
grand eifecti, is a atumblin^-block in the way of iii:iny a
compn«er of merit, who is apt to undervalue and iicijlpi't
li-.pln.)v, which after all is the i)ni>k- for the iinnv. ami tlu'
true tuiirhstone of a conipoiU'r'K ahiliiieii. I'liix was follovicd
bj a new comic ballet in two art*, called />r> brydcn Tan-
ten (tbe Two Aantit), by b«llet-iMiter Titua, the munic by
<taBamts; tiba lattar liia vmj mptek wwOf of dw i
m M t tmmm i w utobratrt ta (Mi Bw of Ami Mt, iiri

atalrmMf pciftmiei, Af^er which, we had a piece in iSve
acta, entitled Ihr Pt4n» ran Pisa, which we nienliun on
iieeonn( of the oi-ertiire, and Kcreral nir« and clMriuiei, from tiw

Kn of Zrltcr, xrhlch were introduced, and are of a anpcrior
■d ; hut what produced the grcatent effect wan a new romance
byWollanlc, of a Tery pleasing and orifin.il rhar.w ter, and which
is aim (st always Ihrii i" ciii .>ri»il. Tin" .'/.riir of Salter! )ia«
been piven twice with n^ml crTci t.

Wc liiivc liiiil n iiii.-riiij-^ rnni crt?, but the one that excited
tbe prcnlest in![ rr>t, w.i.'. th:\t iif M. Lewi* Miiurcr, conrcrt-
iDMter of the court of liaunvrr, who gate a new overture of his
compotition, which created considerable Mmation. from it*
beauty and uri|pD«l!ty. Several amateun huw Mlidted the
cwmpmer to ban It wiatodk and It b«Mll»l tMhaaMcaded
to Ineir lequeit. BeMdea thii, he g^te nrktiom of Vk tmm an
Ike vioUn to a RutHi;in air, which was (carrely len adilind <l>n
(fta former for itit njiirit and playfulness. After thia Ki Hwi' d i a
concerto in a miimr on the piauu-forte, played by th« enmpuaer,
M. Aloys Schmllt, iu which your national anthem of Co</tare
King waa introdaced with gmt effect, and coloand in a
BHBMr Art (ate k all tlia atanwler of nnfeKjr.

srnAHRrnr;.

Not havinp an opera licrc at present, our uiiiNii ul ciiji'VuH iits
art- limitrj to llii- I'linccrt-rooin and the cljiirrli. In the
latter, till? l..vcr> ui cfffitiNe music enjoyed a jjreat treat in
Chrri'liini « Rnjuli iu. riHupuM'd on occasion of the funeral
aolenuiiues to the uicuiury of Louis XVlll., aiMi which was
perfortned in owr tathednal chicb, nato the antpicea of Kapell
neitter ^iahwHwIw. The wMa mn flMiifecd or great power,
bat naitieulBiljr the MHtt Itm, to dilBeult a task lor a cuuposcr
tonWMif in, iAht the vonderfU effort of Munrt. Netaless
real enjoyment was a frrand mast of Kichter, for M« choim,
not performed these thirty years. In its nrrived state it lit
given with great effect, by havine a double choir, one in each of
uie opposite win|pi uf lh« C.itlirilial. Notliiiit: could Ix more
impoKin^ than the alternate respooee* of Ute two orehcatfaa,
and t)i<- union uf all tttlr fimH m dM MiCliAlMt iulA vf tto
Gloria r>nJ Credo.

In iiiir cnnpcru we had ibe uiual nnpe of pieces hackneyed
from town to town on these occasions. To this, however, the
gnnd CMMCft of tiM Mdety bere, called La Hi»nion det Arts,
wu a dttti w gn i ihe d cnteflion, being nutriMd by variety and
MMew Mieellaa. It eneoed with MuMffe nfiMaMta Qgrm
smrf^ilMmn cwi p wIUun of p^at power, mak irbkb feia wry
untie sei nny ban auflrred to drop hitu oblirion. Neat came a
grand scena frao GeneraJi, Laiciar di Mortr, which was ad-
Binibly snnp by Mile, itonnund. and met with ^rreat applause,
i^tr this we bad one of .M. v. Wcb«r » Fantasias for tlie piano,
exceilestly given by .Mile. Kultner, wbicb w.i« followed by a
T«ry effective secne and <:liijruii from oni' n> utlc kiiuwn
works of Nicolini. H'lt one of the rn<ii.t (.tnkinir eliura on
the occasion wan a scMti-Iip fur FrtTn li luirni, In l.>.i-i|>r.il ; tlic

fint bom was in c alt. tbe aixth in o below gamut ; tbe omiuaat

produced was nf a rery sinrnlar but pleaRin; kind, and the effect
of the whole uew and olrikiur. and tliuugb i>erfonned for tbe
greater part by amateurs, all IIh iiaidaa W tha feaa|MMBB
were (kUcatcly preserved.

XAOfXBBUIlG.

Otrn theatre is this year man^^ by a couipany of gentlemen,
under tbe able direction of M. v. BiedenAeld, and tbe orchestra
under M. Telia, wtwie talantt in tide departaent an ««1

knoini. Ow ceinmay It nm effiectiTe Ann for aanj i
paat, aad tbe MIewinr operas bare b««n crivea with grtat 4
nets and ipiiit; Hoaaui'a Hmrbien di SingUm, IH» JSekmtlam
FautUit, Jean de Pari*, and Dom Jmtut, a list that prove* the

illreiiors hat e been an xiiMis to cater well for the gooid taste «C
the public. Besides thene greater operas, we bad Oa% Cr/irim-
nift bv Solie, i>er Hchlfftcapilain by Blum, l)rr Durflmrhirr
(The Villare Barber), and Orr Prrus^itrhrn Orrtntilirr, by
Mi'inl. and l)ir Sifbcii Midchi'n in Cnifrinn, fi.irii the Frencll
opera Let I'afrrt ilu Due lir I'fifi^iiht . "liirli is a faruurito
here. Indecil, the »liii!i' ultlnM |h.(,'^ Mcrr^ ui. in withal
andvij^our new, to u certain dcjp-cc, to our tlicjtre.

The principal novelty of tbe season, has be«B the
of tbe operetta of JtUia at Dtr Btumentopf (tbe Mowar- AA.)
Thi( ieoneoT AaaarikitpaalMlim «f na fm «f flpaalUU
and though it ahrinha tola cannantiin iMigniiB
of the Bon aatured wucfca of tale great maeter, yet it b n
by nuny thtiua that beineak tbe future greatnen of the
poeer, .and whieh would no rafllcient for (he rcputatioa efaajr
compoier of a lower order. The overture has many pasaageadf
power, but i< not of a charatrter suited to the subject. The whole
contain* many melodies which cannot fall of making an inl-
and which arc marked with iniiinu>li<'i<y wliicli, pcrli.'ip', i^ s> :uiting bt atBM

prcssMin.

g-cn' r:ii linathr a >inip]ii ily which, pcrb.ui-, ^»
of tbe mure recent and elaborate wurlu ul this ma»t«r.

FRANKPOItT-ON-THEJiAINE.

Wk arc sorry to say that raniic ba* rather l.itiL'ui^hrd here of
late, owinf tu a varirty of causes, which it couid not interest
ViHi to hear : but h hii li have proved a serioos drawback to the
inutt intellectual ut our enjuyuici^. I'be opera being ia thn
hands of Ihoie Who posama na ^Mt of c iMw a ri aa, d w jaMla
seem to hava bacooie ladiffennt in latam. Iim ouy atuaqit
at inlradudnr any thing new to our aiage. has been tbe i^n
of CM<at.^raMRrf, •» ht* dens Journies of Cheruhmi, whiidv
owini^ to the causes above mentioned, produced but little imprea*
fion. Tbe only thiufr to enliven ns in a musical jxiint of rieV)
has been a vi»it from the celebrated ALidatne M ilderbamptmann.
She (favB a series uf comcrti-, in whidt she <lcli|fbled ilie public
with a display of her clear and kiUery tones, and by her siwpla
but cxpres&ivc t'lui;. She lumlc a strikinif di.play ot im
IHjwerii in a gratnl accna frmn H;-.viii. .Tiid in tbe lighter bit
tender air by Krciitzer. /< A n i;,v j,i fn-lich so gerne (Fata
would I be jiivnun) ; the contract of wbi< li pieces served tnihaw
otr Im iini'.iL'r her varied talent. She aleo <
mwt entliusiaiitic appfautse. by the feeling and
which abe gave t* iNuin'scelcbrated song Grun ansKe Aefaeefo
(Balntation toSwitatriaad); a sung thai may truly be called
tba teuehitoHa af a ringat^a rafahilitiM, aftlcaat. iniMuicnrtha
pathetic kind.

WARSAW.

Vi'v, lio[M.'d in our present account to have given you tbe par*
tieularsof the prndnittiaB gf Dtr F n i $Mil* here j hatOMSa
thik opera baa, to oMT kmwledgi^ Iccn tnuidtted inladM rolbk
dialect by M. Bo^ualawi&j, aad the part* been long ia nrepa-
ratiiMii yet chcumalaacaa liaat Ittarded its production. In thn
iiiiaa llaie Ihtni iiai lalMiiiii— in the direction of our tbeatM,
mi the paiiiimanfin an at laMeatearricd ■« at tbe risk of thn
company. We are sorry, however, to say. tluit with tlie excep-
tion of tbe inlroductioB int (if the K..~Mni,in cpcra,
and are Kii indi*pen».tliJ.- t.. c^x'i' elf-vi, IhrrciKno n'i|ir o*e-
Mioiit in n.ir Ijrir theatre. Fnr a whiJf uar we liavi- hiol litlla-

or nutbiug new bere, eaccpt Ji i'arco in itaisa aadi<« U»

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/n» HABMONICON.

Lailra. Oor prins doBB* M •

) Mafcr. bat of her roie»
it is B rnrr Hi frtta, k head-
▼oir«, M»(l w.ints su-t'i'tiif'H unil flfjibiiitv ; she pnve the part of
Tanerrdi, l>iit rn.idr ni. f""*! iniprffssion. Niircan we approTB
of the tajte of (he liircctor of tlic who Las venturpi) to

■Iter the frester part of lhi> r«r;t:iliv»- ,if thin opera, uliirh,
pcrhapi, of all the conipo«ti>Mi« uf Ki.^viru has leu tu rIi.t in
that pwrt. The dir«ctar. M. K urpiniiki, tia* also revireJ an
«fcm hh mmn, nMai Jmlmga, which he Hm Ktmiched.
«MIiilnMlwil)ianinbcr*r nnrahri intht Roctiaian tMte,
MM in whirh the tumtam plan s tcit aetira ial rwwpiouiiui
part. '

In this ape, when ii appear* fiishioDable that ewrjr town
thould pn«»eM iti muu'cal pnJtliif r, we too have determined not
to remain sini^alar ; aMordhiply all the wi>rli) ha« been floeldnj; to
wiloeas the performance* of ■ ehiJd etelit vcara of ap?, of the
naine <if KrnfuUkr, the son of mii»i. -(lircetor at 'I'arnow in
Galkut. IIU perr«r[nante mi the piaii.i is certtinly of a very
tuperior kind, and with much that in brilliant, he uniti-s crca't
tMte and feellnir. He executed Hammers fiunouj tonccrti. in
A Mino r. Ri ci'i in C tliarp minor, and Kalkbrenncr's in I) iiiiiior,
1 • niUi and manner whirh wnuM make ii;, s-i ir. uitli

. bad not thete thin;* become ■<■ common now.

I <Mght m toaawliidB^ lint, after all, medtaniim ha* more
J! ** ^•''^nBUMH flf till* Una tlian b at int taarincd.—
There liaa lateljr beta a puUic diiplay of tka triaMa «f the
popih of oar muakai CoiHer*ator|', wbicfa prored Id aD
mpeeu Mtttfactorjr to the frieaAmrtlwart, and liijrhly ere-
ditaJile to the exertion* of Siraor Sollra, who the director
or tlie sini^iiifir department, and known tu tltc public by gurae
Tcry e»liin!«hle worki. It wa», however, reinarkod that in the
attention to the Italian ami even Frcmli latiifiia^e. in which the
pieret were »un(f, the I'olihli wi-»\c>\ very ■inrcrcninnioiiUy li-ft
•Utufthe question. Surely it imi({IiI tu I,,- :i niAl'pr .>t ronsi-
Mfalum with an instittite, which pr..l -..i-a t., . ij |,U .,ur
I theatre* wiiU ainfen, to tec that ita u«n lauuuiiire and
ianaatfMfyaitan.
Aawa y the mtmefou* conccrU we ahall uaine but on ', tin-
proceed* or which were deruted to tiiaaappottof oar ch,i i 1 1
liMtttutton*. It wa« ciren in luic-di rector Javniak, a uliu
J' J Wch in this plare forhii knowledge «f mmie^ aaiticu-

larljr that ..f the chiin h kiiij. The Concert opened wtlh an
overture H la Rottini, by Nowakowski, the before-mentioncil
iiii|iil of our Conscnat.iry, and whirh, if not profound, wa* at
k.ist brilliant niid sp.irkliiifr. On this (H-rasion was prodiieed a
new cantata fruni llic j.i-n nf Prufciuipr KUin r. tlii? principal
theme of whirh wri, your En;!i«!i narioiril iintlicin Snii-
lAe King, which i-xcitcd ciin-i4i'ial!l.- sciisnth.n.

The pratuiinont uovdlien of the cveninjj wi re perlWmi.inrp* on
two new Inttrumenti. The tirtt was a chorun from llri-thovcn,
aeoonpanicd by profeMor Jairurek on the CAora/ion. which pro-
diicad a wjr atriking efftet. Thia imtrument ha« been cm-
■tmcted by M, Brtinner of Ibie place, frum a deuKii by Pro-
femor Hoffmnnn of oor Univer*ity. Ita principal feature oon-
sninif metal niiKitli-piei.c«,ofibe nature of the (peakinr-trumpet,
t ist an- atlnid to the pipct, whkh bend exteriorly towaida
lb:' s«;"i«'ir.. The inttniDMNt b lira* rendered capable of a
«urpri«iii5 imihiplicity of tone*, acconlinir to the quantity of
wm.1 introduced by mean* of pedaU ; it* ,,ower i> increaM-d
Iniui tlMMM.fttr t«.ne« of the clari..nct „r oboe, to th.wc of thr
French horn, and proure.,iv, ly to a burst of trunipcti, an.l
tromboiirt. lu this inamicr it is M,- i„ oK-rpoucr .1 «b..Ir
,«she«lra of more than fixty in»truin.-nts in fall n<:ti. n 'saU j<
Bany (ingert, and an ori^au into the bargain. T m- r,,-M »
tta alluro aMMmot of llaMbelet i eonrcrt:. in !•' i:i;n.-r

nent called the yEohfmmUbf, jM aambioea the united
powcrn of the piano-focte aad AtlaOMlodikofl. and afford*

a plaver. who liaa learnt Ute manajteroent of the variounlyHMM-
ftineJ »t,.p,. the ,Mmer of pr.Hlui in|r n nurprisinjf loultiplicity of
tone. I he pcrf.,rnier tboue*! off thit tingulaf ioilrunMDt to
rreat advanlasre m hi. variation*, which were of the mmt
DrilUnnt and d,v,-rs,Mrd kind, and of a nature tO trfinf into full

capable. Thu Concert waa hoaoand ^ th» fHMMtaf Jib

Higiinan Prinee lUdziwU, UnMtf a
aa writ aa patron of ffortMon^ who I

101

Trb decidad pnAatMe vIMi b a i aiy wl m a riiown ta

the ceal wkh which it b cnltivatad, aad the tpirb ail

nmiiife*ted in briofioj: forward the mat uMMtarpiaeaa af Aa
art. avan where neaoa are naeeiMrily Timitad aad af a nature to
diicoarafie iho«e whoie leal and peraeveraaea la ttie rood cau*a
are unwe .irinl, is one of the remarkable phenomena of nur ttmah
and di-S' r\ rs ihr nuKt frateful a«kMwledG:ment. Wt are U
to iniikc these remarks by witnettin? the emrtry that ban been
t \i rli ij even in this «rniill town, to do jij»tire to the SeOMOHt
of Haydn ; ;i iiiaKtrrplecc, lli.it was pertonned under the able
direction ot jirolV^-or Lithandrr, with .1 com-ctncas, ^ini^h, and
power, which might hare done honour tu any orehettra.
Wia tuf tarn haw ao—bn to «peak «t 1U» mm at bigaw

MOSCOW.

, JMUm O ptm * Am Iblba aonpany waa aHaiUhhal ht Ifth

i city in December, IIM, iMtawen which period and July of tha
but year, it haa f a r l bf ai Mben opera* by RuMini, and twentjr-
ttiaa^^thw aif oiiH, aaeh aa Majar, Pand, Cknanm,

Tatttra Sam Ca»hj-9aicm tha hit noden fraai thb dly, oar

opera h«« not beam very active. The Maometto of llaaaini waa
brought rMil, But (oDod a very roni reception, and kept poc-
«e«»ion of the «tafe a \-ery few ni^'hts only. Pacini haa riien to
lil'e a;ain, and made bi* appearance a'monef u« with a new
operetta entitled AmazUia, which on the first nijfht made a
Jintco, but on mbseipieiit rt'pri-^^cTitaliuns liKind its way Into
public favour, at li-ast if mc may five credit to the .Milanese
Cnrrifrr iltllr hamc : hut nf tJii-. juurnal il iiiu>l hr v iid, tliat all
is not gfo«|»el which is found in its paijrs. A nru c.intata w.a»
prodoccd by the aamc composer, on firca»ion of a risit from one
of the memben of the imperial famiir. At^er (his the Didoue
of Merradaata wu hraagiit airt. but withoiit tuceeia.

Teo^ro fawifa.— UUa. UnnrhaaaMidaa/urorwbeieia Our^
lielmi s opera buffa : /tmorr riite9tlltl», ** Bare.** eiclaiaM aa*
of the journals of tliis plare. "hera laaprAaa i/oMNa, wfeofuIOa
the beau ideal of the cnniic opera. Her heaiilifiil voice, lier
intellectual mode of sin^intr, joined (o an exprcsflon full of soul
atMl perfect freedom of nrtinn. ralh'd forth the must enthuuattic
applause ;" ami it t'lr < ,,|' ih,. .ipera <Iie w,i§ called on tlta
«ta!re, without a disscritinp voire, to receive the cnni'ratnhition*
of the public. .Mar we not hope to sec the i,. ii .mi ■ , .Mi,ic
oper.i re-tored in this singer?" .M.id.inic Fodor mi her n tnrn
from Paris, delij^htcd the public in her Hosina, whii h she alwavj
give* with j^at noitvr^e and »pirit. The people here si-rm nn-
naiimr if tiw^ haaa mat it B0iiiere at lea«t once a month.

Te«Aw JITaaaaw— Tha Slnan Fraucraca Pacr made her deb6t
here in the opera of Criitida, aad net with a vary fitvoarafaJa
rereption, as did abo a new tenor of the nana tt AiifdO'
Quadri, who appeared In the tame opera, and delighted tha
public with a clear and tilrery voice and jp'areful actkio. Tha
FiMlor was alto rn«iig:cd fur a few nifrhia at tliM thaatn^aad
prrforuK d with her u»ual effert in ita*aiai'« /iiff«nMe Ftliee^
It IS said (hat Ro*«iiii"« operetta, fitifigin ii Rriau. which erent
alun^- l.ir sonic ll!l.'h(^ at I'arii", is to nndrriro a iiictainorphfiaii,
ami make itt a|>|iearanrT here as // Mntrimtmio pn Voneem,
It is thus th.it ![iin;;s nn ; iiilli Hij.*iiii nothinit is lott.
Uike tlie (food muter ol' tiw houae, he brin^p* froai hn ttorea

Lit Srnln. — Tllin bolide havin;: been clmsed to underq-o some
re|>airH. the perfonnanres have been transferred to // Tratro
CaHnobiana. The singers are nearly all the same as last
aeaaon, and, with tl»e exception of the tenor. Verier. Uie whole
aaa apytiriiir aba thaa food. Tha novelty wa« a ocw opera
balh Mrtitlaa GUjhwtHturieri, the nnvic iy Sigaar CordeUa.
whirh wa« tdetabij wati aaeaiead. Of thb aaatpaaar we bam

the foUowinr paftirabnt Coidtlb wm ban in Naplca.

teJTM. MeatiidbiaaaHMaMaBiiDdirthacabbDMadr

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1€8

THB HAAlfCNNieOK.

Ins flnnica] eilncalMin nodcr Puiridlo. In hit

yenr he cumpntcd » Mcred CanUta, fntitlcd, f,a
FtUorkt itit Area eontio Orrieo. In the niriiivail nf I.S05.
kt conpocrd fur ihe TeaIro Mnti in Venice, the F.inia, II
. CKwfttoito, which madr furore, nnil nftcnranla ^iren in
Milan, Turin, P>Jua, an<l in HollnnJ. Bi'twrrn Oh- vparn
IS07 and I81S. Ite cuiil|>o.scd tijc fullonin^ ninran: ill N:i|mi'>
fi>r tike Tratro Xuoeo tlie KarxA Ij Ixiiiii Inranlnlii : (■<r \\n-
Tratro S, Carlo, thfl iiperik utriii Anni/.ulr in ('iijniii : l'i>r lln
, Teatro tie' FioretUini, the two oyere buffr, Una I'niia, .uid
£>' Atmn, bciidM ihe Farm 1,' A»Bmrd» FoHmnmU. In 1SI9,
, fitr the Ttatn FVb in Rom. il CittroemMoi 16H0, for

• lha farfM-iiriicw in Nairiei, UMtn MUmm t m IWl.

• ibrlln Tettn drgtiMmmnVina*,L9Sp0i»dt Pfwtmttu, all
. «»er« ^M/^r ; ISiS, fur llie TraffV F«mih in Naj>lr». the Fnrea.
. if Csifetfo Uudidi; ISMk for the Trc/M

*UMaXy,llFmtiti»)OferAm»r»} iSMkfur the TeAfro ffHiVf
at VenMf the Mriom opera «>r Aleihiade. The fieater part uf
thp«« ciMiipoaitiont enjoyod a fair |inip4>rtion of Micc<f«* ; aixl m
Kiiiiii' (iruuf nf tlieir merit, have bt-cn IransfeiTed to trariuut other
4l)i'nirfK, well of Italy ii» "f Snain. Bc'.iili.'* tlime ciMn-
piK»iiiiiii-» liir the iilJiifP, Mifuiir ('orurlla is kii<nvn by nuincniMs
>Cimijni-iti.iriB fur the cliurrli, aniiMii; wlui fi iirc liiiir f,'nin(l
niJi'tTs ; s^h:h* [nihiUhi'd tiiutfttf, of uliirli lorriirn rrittcA li;ivf?
apiiken very favourably, anil » §^rAnii I'r Drum fur t»u cliuim.
tu turn alio fires to the publie a grt^t varietr uf airauMl diiita,
Mid a romaacc wbkh waa inimdun-d in Wei^i'a ilaMr AAi<
rtMU*, umI nbtained the «ulfrn<.-s of the paUia.

VENICE.

Mlli. Homvilu and Stfr. DonzeUi have both appeared in

KriMr, an i»|>rniut Mereadaittr, frum the MariamueU Vdlairc.
This coiiiiMiser who baa priMliirnl many pretty wurki, — and
whow f-Uha e ClawUo we have heard, — hn» not hecn fortu-
nate this ycir. for hi< opera has failed. I'hia disaster uhlii^d
the uiliniiiiiitr.itiun In h.ive rn:ourbf to old pi(M:c(, and Otelio wx
deiiLiii'lril liv llif publir.

Mile. M'liiiiiclli, iilllhiiuli Bill- li til inTforiiiOfl Drtihmiina with
hc\.\i i\\ IliiiDi- nii'l in otiitr It. ill, in iu'wi-, ilii'iuli'il to appear at
Venice, IV here the public are iiiurc I iKtiiliuiu: nevrrtlieleu »he
, ffuduced the freateat effect.

The OhtenaUur F'emitien has rctuuiided her praise*, which

• lam bcao caalinned bjr piifala aeeimnta. An estnMit froiu the
•inWawata m, ia apil* of Hi axttavacsDce, may cooirey awue
'idea to the reader of ber aiicceea. " (Metto ha* been produced, in
all ita iplcndMBr at our frand tbenlre, fLtt Ftnice) Sica. Mum-
ImHI waa placed in a erilk-al niinaviun ; Iter part Imd been,
UthettiH nUed by the bent perr<<riiif ; but, vritliout either de-
spininir or drramni; rrili<i«iii, by her iini<iiii' talent the proved
lii iM-.r tii|iori.ir l.i the n'.h.T*, liy .m ivliiiir.ilili- union uf natural
and arqiiircil puncri. In llii- i^r.ultiiiin^ nf llir liorrible catiis-
troplte, lii'r ninj,'!!!!,' anil i'\pii'»'.i.in iol<ii'il :i ruri f ;in'l irwtli tn
the pa<»iiiiH by uliirii «lic ni;i|.itf<!, lliut i,';ivc' a new co'oiir-
ir.,' In till' rimat litMiititiil p.-is..;i;jr^ ■ .M Ir. .Miinibelli likcivise
has ciuiruicd ttic Vcncliana by accompanying bemelf on the

kans in the futnance of Saule.

After OUUo, it n intended to pert
at the theatre U Ftnlee. He baa

Aancc.

(Meff^ it njntended to perform a new opera bjr Caraffa,

' wurlu fur

TUIESTE.

A ir<w wu^ad j|, named Ferlotti, pokseiisinar many personal charinn,

in the PattoreUa FtHiiataria, an opera of
fMee&i. In dw int act ia a duct, which ia rerulariy encored
enry n^. Maeh pniae ia Ukeviia due to /Siwr. Tr«»MtUni.
• l«UP6^vitkft6MhaHTCiM. '

UBQWntN.

lUwaiiira OaMM M Lagt «aa Rhm iMit aid vtmtA oar
acaeua; it nrt vMt a?«rwami neepllan, and immduced
to the pnUie aaew lenar af tlw aame of Antonio Placentl. who
ia lihdy tu bacwaaaa aaquiiMaB to the tU|re. A Juurnal de-
•cribe* htm, aa "ponaislBf ft fine naaijr ii|afei a pteaairL-
phyiiofnamjr. Mid aim b wiMt ii ic a af BiMiMirBbu-

OvocaaiaiioffhaiiMtaiMaorilHlaiparidcoMrt, fttpupila^f
the IIiHieal laMhute nf thia pinee, had the honoar to appear
before the bipcrial "brnHtj, Tki» Emperor w.\s plfMad (p
ex prom the litfltMt Mitiibction ak vitnei>»iog the spirit of ii^
pnoeniiMit prevailiiitf tUBolur thctn, and was beani to repeat
in .re tli;in unci- to profeiaor Hayr Quota ItutUiUo amm*
at t;,^ir'. jmtir." A new opera was pniduceil here fruM the pan
I'f Sii,-niir Tailulini, lalkil Moclur, wliicb is Kaiii to cuutain tnaniT
very pli< l^:l.L.' pirn i-r, inarkril by run-.iilerable characlaf aiM

vrii^iii iiitv ; but it ;s aibb-ii, tbat ■ '" — trij thi rflwipaiar lln
nut been baiipy in the choice of Ins iiubj«ct. '

triNr.

Tub (inzz'i iMiIra ha« been ilir> I'in mirite pieee . i ii^r scjion,
whirh h»s bci-n marked bv nnibltif iww. Tbi« npcnt »crved for
(lie debut uf a ainver <'l tlie n^rm- nl Un.i Hninrlii, a eaMMlIt
vuicc ; she is said tu pusit s^ la!cnt» of |;rrat promise.

In irlancini^ uur eve over tbe Italian stafe, we aee little else
than fUMtini. still iioasiiiil Ten of his operas yet hold ap
nearly aa eiiMBua aa mt, aad Mpcar to be kept ia eaHtaak

! tndll up the faps in the hmA
moment a new opera ftlh -
conee lUMHiai in Bak* tls
the havea of the tamfi toe.

PARI?.

Tm adnlniatratiea of the Italian theativ ItoTt written to MUe.

Mmnhelli to prett her retnm. They have, nerertheles*. nearly
viilTere<l her to escape for ever, relyini^ on the supp«M d powers
of Mad. F<«lor, from whom they cipectcd such wonders, and with
whiMu they believed they rould gi> on, without any otiier aid.

The intellectual author of some uf nor most beautiful cumis
operas, — of Ay ('«',/<■ //-- H(%i>,ln:l, of Jean lit Paritt fce. •
M. de Saint Just, du d on the ^tb of March.

Rossini's oprr.i nl .Ua.Vi.'nW, aii'i tlir b illet nf Let Filett de
rnleain, by iA. Uiarhe, arc now rehearsing at the Opera. We

underrtaadlfaejr will hvtlibe pirfanned tannida tin latter end

of ApriL

Tne firit liaM we beard Moniieur Beriot on d» flala M •
cotKcrt, we perreired liia brilliant execution. We hare linee
wati-lied hk prnf rcait and now foarlewly place his 6ne talent on
an e<|uallk]r wMh tliat ef the ■eet c d^rated muiirians. It is, then,
with ea^emeiis, we announce the reward M^lch hia undoubled
l^enius has obt«ine«l ; M. Beriot has been appaialediiralheMnwf

violin uf the Kiuk's chamber.

Souii- nf llii> news|iap'?rs aunouiieed that .Mailaun' MainMla
Kinlor, bad, tlir >in;b delir.vy, refiini»i] to r«'rciv>- ber salary, for

Inn:,' ai nb'' b id licr'ii disabled from I'liltillini; her cn;afeinents.
There xs no foundation in tntb fur this story ; nor do the
statements a|pree aa to the motive. It appear* that M, U
Chargfde* Hcaas Artt nei^lected to nay Madame Fedor her
■laeanre^ and all the delicacy »f this relebrated itaftS'* )
lohar elalmin; by means uf a tipstalf, the salary iher
right. Aa the departure of Rubiiii will suspcM thei
tion nf Xrimira, the admirers of this opera wHl iMTe &M ^MC-
tarl* of a little lawKuit lo console litem.

.Monsieur Lapnrie the younger, son of the director of the
Toltcnham-street Theatre in I/iindon, i* in Parin. He came to
rerlaim a ruc^ilive. Mile. Delia, who was engii|^ at that theatre
tnl next September. .Mll». Delia perfonned in London for the
la.t tiiiii , nil the day of the ib'biit nf M. Bernard- L^n. She
[•el ntf t ir I'ari* the folbuviin,- diiv. where Monsieur Lsporte
failed nut lo jnin lii-r. We learn tbal ulie li,-.'' p.iiil the peindty
in which >.lie was bound. M. L.iporte inn., is now uccupinl in
finding' some one to replace the prelty fiiritiTe.

On the ISth of April, the Taluabfe Mmgtai* rf« JVnuff «r of
M. Manriee SddeelngMr, in me da HMnlwii waa daitrbycd bv
lire. Independently A aany Oenaaa MmaBrlptl, olHained at
a Uali price, a vast eollaciioii af irores, of inttniment*. picture*,
btmie, and plate*, hare been destroyed ; tnretber with twenty-
ibree bank-note*, of one ihouHxnd franea enrtl. The wbole leea
in estimated at lOO.OOi) francs (lO.SCXV.), and the praprietacli

•aljrtaaaiad|ethaaBM«atof«M<lbiutUiaf liriaaaa, •

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THE HARMONICON.

103

HOUBN.

Bmumu h mtfrtftntto ■ yfat wiJ Ae getUng up of La
JkMM Ufaiwit*. Hk mini hn wcadoiMl Mferal f&te* in
hoDour of him, and > III tha «Cm of iMiiikliwl police :

for the Nanouit ■mtt alwajn pfMrra their litirioot repuution.
The firtt nifht of the reprcMntatiaa, the muttciant lerenaded
thin illuDtriout cumposrr under hii windnvf ; but an officer of
p«lk*e (who spparcntlv diil not like mii-i:) served a prvcfs
terM. The chief of the orchettra was fined, March 18, fac-
cofdin; to the terms of the article 479 of the Code of the Penal
Law, which puoithe* the initip^tort of nocturnal diitarbance)
flietren franc*. Scarcely had the ju«tice of peace pronounced sen-
taiiM^ than "I appeal f cMlaimed the artbt, little Kccustomed
Id* cwrt of juttice. Ut ikoartft that Iki maiit ow cale-
bnitai counurnutD ought atH to to toHliiMd ■■ • mikj clatter,
md U k to ta hapwlthal a IMNr tiitoi^ will allto
jaaiiw to ifci huumj «f tto B—pw if, mi tt> tolti

TOUr^OUSE.

Thb RMm dt* B»i* (Der FrtUcluiti) of Weber it the rai^
here: the chanuMa an f aifan u ed with extnturdlnary ability.
A fmttmiiilMroffkciMilmtoala quit their ibopa to sing at the
ikaaira. Thlititr w^to eairf riafara
to Iteii*

" ' Afiaotsok, i«s«.

Act 1.

rof Gnad Te DwHi
Qwl melantc.
HwII. ace. ' Ab peteb« 1
Soiif . II eaio b«o. t

S«l<'ction from Atii and Oaialm.

ConrtTM 7!h.

AolbeiD. Thou, O God ! art praiied.
ttmm. Pioo* Oino. (JwI/m »aer.)

LCbonii. Ifallelajaht (WmMA.)

Graun.
MarctUo.

Acn II.
CANNeeA«)

0»crlur<',

dee. Oh, Nannj !
Chma. Maj no iMh intruder.
Seell. in give thee.
Sonif. I^t ne wander
CfaoTOi. And jrooiK and old
Trio. Domiae l>eu«.
Soog. Lordtoihci-.
Seleclioa from the Rrmiem.

kaMGhonw. Than mnrf abaat.

er.

HamM.

CartUi.

llnwtrl.
Handel.

Bwrnditr

(nwbr«)

imimtd Krgo.

Mo:art.
Qlut*.

Vagaliaiblit dowljr with our nureltiea, but we >lo get on.
'Qual anelante" was a soitliini; conlra»t to Oraun s niaefnifi-
•encc, aiiJ never did we heur it more Bwcelly and ;u-curiitelv
tunc. MaJ.iirie C'arinluri, wc are surr^- to tA}, was tadly Aat in
SiurKini ii ;iir; tlie recitatire wai by far the beat part of the
perfnnn^vnce, but we do not think ve*y AifWy of aay pari of the
roiiipotitioD. Whether Mr. PluUipt fWIMl W bMt eritioBC*
on hi* MOfiiif, or mt, «« ~
irherfMrmaa itoa^ to
pairt^lor iMfardid «•
Tw.IV.

HcN^ indeed, the alghUt^ aod to WM *ifeiraaaa
polea aaBBder.** Alt vaa ipWtid, aO wai cwraet^ ail vattne>
able. If he aeiiliwa itoa to eear. Baiifc— wM lite to w

once again.

Dr. Greene's anthemi are esquitite chamber-comporitioni,
generally apealdng. He is not often lofty ; thotisfh. to do him
justice, when he i», no church writer hai ever exeelli il, ani! ff*
equalled him. We re?rcl that he has not been iiitr>xlured at
the AnMi< Ci'urfrrs in ■A more ciniinnmlint,' ihap.", and wo
ulioukl hiive been better pleated n ith one of hia sublimer an*
them* at a contmenrrment, such at " O clap your hand* to|;e-
ther," or '• I will ninij of thy power, O GodT" than with tba
selection of tliis rvrninir, which, though a beautifal compotltioa
of ita kind, and beaatifoUj warbled by Mcten. K^rrelt and
VtagtoH. ie ton Mtaatdy aanaliKtod lar a laifa
irtaaa tiun la ao great a dUhnwt af toato tta
Tto eonseq BeMe was appafeab— ft racetvei ley eaU>
nets.

" PInui Orgies" is an air far beyond the powers of lillte
M'ilk'i.sii.'i. Strange that her pruji. r la»t(i and style cannot yet
be diicuicrcd! A sweet voice, and even a tender espresSMII,
arc not tutlicient for this fioe BaBf. WUheiit Mllf , wMieMt
fcrrcDcy, iti* utterly luttt.

After the otertim to Samson, in (he second act, on entirrly
nrw gfrr wnt deliriuutly warbled by Mils Stcplient, Mcssn.
W. Kn>vctt, Vuughan, aud Sate; composer and adapter Meian,
Carter and HarriMMt to the inliaite deUghl of all tto joaaf
ladta to «to nm ; aiid 4to ilglitiBffale ftona alaw4 Ito li^^
moat appnipriatel]r,->Apro|)oi, hoirefcr, af tide laMe toiua ■
we caimot help remarfclng, that if the tehole ef It were per-
formed, lolto voce, and the pianos turned into pianieiiiWie, It
would prLiduce a niueli better clTcf t. U'lien we are to think of
" fragrant pillovrt," " night inp;>le<., ' anil tie " Mfl-breiithing
zephym," ue arc not prepared fur our worthy tCBOTtand baace
in full force, nut to nicntiun the fair eav-pltnan frOBI JLaMft*
shire on the other side of the nay.

We do not know }ble!isrs. Leal and Rego, but nantoppf
to bear tcet^|M«> to tto merit of Itoir ton. TtoaoaiyeeMiMiii
slfpla, pattoUe, a»dlwii» i il% l i i w.

Aaeltor aa^fitr pear Niea mikiMOik qaHa aat «f tor way.
If It to urged ttot It eaita tto tmupaee oTtor nke^ what dm 7
is nothing lu be considered in ddiag jttltice to • HgUf fedbf
song like this of Tbcwlura, bat the ruiee ?

The opening of .Moiarl s snblime rei|iiiein »ns i;rc-rti'd, as
we feared it would be, w ith cdm and wient aci(uic!.crriic ; a
Sort of resiKiiiilion to an unavuiilable evil! The Ikncdiclui
" could not cbou»e" but please ; but it is a pity it was not
introdoeed tobre ttie O iVanny thing j there was no getting
rid of tto liapremion of thla "laal wrapping in Elydun"
paitorall TIm Sawitaa it mgaUaeat toyond espieesian ;
»e oply lamont Itat Meaait mt to awh a hwiy to ceacliida
what to eevid tore made ao mach leoN of. We camotfaiih
our I'btervations on this gloriatts introditctioB, wkhout aaylng
tliat tlic wliolc of it was admirably well sustained in every de-
partment of the orchettra. ffe fervently hopp it wilt }>,• re-
peated in the oourae of the season, with the addition of the
- ReeordaieT-^at «• ahal to Ibad. va fear, aadly to Ito
minority.

A worthier companion fur the Requiem could not hare been
found tton the heavenly qnartett and chorus in Samson, which
felloved, and wWdl nally left aa irith neither eye* nor ears
for KujO^ lim, amA aamadmiie MadaaM Caiadoii, and
MgMy aaitobH^ni toMK aalB an du^ I

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104

THE HARMONICON.

FUTU CONCERT.— CM«r(A«dM«CtMi!f (A* CJU#»arucp«.

HemJel.

JonufUi.

AO* I.

iUeit. ace. BarauMi of* Mi I

Sons- Ombm cbe f«>^M»- |

Fuwcml AntJjcni.
yiiiim n nn

■Mit. itiiiiTfi ri J IHnih ^
Bceit. MC. O ibou bright oeb.> (JWImO
Chomi. Behold thee Ilil'niB^. )

Hecil. acc. O norne than drath. )

Son?. Aogrh ever bright. J tl«WlW*J

Antbam. Tbe Kiof ibiil rpjoirc.

Act IL

HamUI.
GtveA.

UanM.
BamM.

Mutrignl. Tin- silver sunn. Oiiojufe CiUviw.

Recit. Itcioicc, my couati^meil. )

no 4lh. C<^ i.) Martini.

Come, i-n r >nilliog Ubaqv {Judiu Slaee.) HanUl.

PlKido « il I

AToMrt.

FoK Lord Fortetcae, from whoM dinetiM m ilwmji antiei-
fftte a ptH tmi, oar mutcmls of tfab «vniiiig mre nthcr of
tttleavycul, urf wttt wBttle norelty, that wa thall datala
oiirw>Jiw liit>Tery ilwrt tMowiHi ogimMto. Ouadoil
wnaotalhoaw teaoj port nt JatBN mllrtin aai MOf ;
•te w m H wmit for i*> ond tlw pathetw pvli wm OTidcntljr
kboorad. Thii «ceM it (mr beyomi her power* ; it requires a

grrat sinc^cr. Wc are old dmuiffh t>> rL'iii<iubcr Sturaic, ;ird
alto liAnti, in this; and in their Lands it was inapiciru pnt.
Mad.iiiii> CauiporcM!, ton, did it ample justice. 'I'ln- Fu-
neral Anthem made u* recollect, of course, lhat his Majesty
of Portu^ vi'as dead; whetlier, like g-ood Queen Caruline,
•AadeUrarcd^poor Omi oMd." ond "kjadnm. aoetawi,
•ad««Hbit«minMrtmifW,''Ub. alHqrmlib AthMtaMe
■muftira. Tilt gpaotaf %iiartetto waa baouHfiilf gim— our
fritadBdhaqr a 1Mb too load, perhaps. MIh WilUMon gave
••Rasaerena" all the effect of which the aong I* capable ; we
tMnk it the least striking of Oluck't slow airs. The ttatiotuiry
■un and mtxin, iiid " >Vorse than death indeed," as usual. —
*Tbc Khiif shall rejoice" concluded the act verj- finely ; there
is nothing tupcriur in all Handel's works to the guhlimc burst
"Glory and great worsbipb" aad so on, to the close of the an -
Oem.

Old OrUndoni mn ««oM bar* " unlocked bar nlent throat"
wWt Ban oAal ait fhe Madrigal Soaiaty. Ha mmcitmU. par>
ttadariy the yj pi r Iwaaahefc did ■alapfaar gi aal l y daliyhted
vMilt; alWt4waaa|iaailiaaiaiMi%orthaffaateaaipaaer.

nnfip* oontiBuaa to laaptata,fcot Ma voice haa sot yet acquired
■nffieient stamina for tha maifalfieent rerttatire in Belshazxar.

licHiiiiiy shuwUil hare sunijr it, and he did, we understood, re-
hearse n, ;itid in hi» l>est manner. This is not ri^ht. Grcato-
rex never manaired any thinf with mure kkill, judpracnt, aiid
delicacy, than the additiuiks he has introduced to tbe exquisite
scene in PorceH's Tyrannic Lore ; not to mention the beauti-
f d tenor fur Vaughan, the inatrananld oaaoapaaimnta Aow
cliarmingly, and moa n dwr tbroagli lha dtMiaa Mlllldjr,
tetha rill^iteat dagaw^ iiHinifliag at aaiif iwaiilg ftf
>^ftalaaia*i>laMaiftnwj mM^ aalilion ihiafh-

r(v'.:ir-vs thun «iiimatii)n ; was this timidity? She may, per-
h.'<|.i~, tiuf Ik'Uct oil it future ni^ht — bar Tuica, bowavar, ia not
quite aCruDf eiujugh fur tiia roam. We thank tha wiMa diiaalae
(though we kave been pmevt at tu better aeleetion* atlnyctbai
than tiie prami) ftr • ^awtaMa fiaailte IdBMMo of "
which for alriUtar ■dadj. rich IwaMMqr,
preaiioo, he oerar etriefaV and hH «l«f wmif afMlMt It
waa daligllfiiU J Mi^, ai

Act I.

(Verivra Ttb, and Mweh.

Frost Scene. {King Arthur.)

a<x. lUrk '. tlu< Urk.

Chorus. .No more to Amman's. (JtpMhak.)
Coneeilolllb. {.Ormd^

Lmba^a Hyan.

«lf«laJI«u^JbinnBr.

tfarliiii.
Pvrrrll.
Dr. Cuakr.
ilattdM.

Urn

}

Sinlbnia,

r>ucl. Ah! penlena,
Finale. To i ver.
Recit. M<! whfD tlHf aiin. \
Sovf. Hide mc from day's }
Soegw Rcodi o cara.
Glee. A ceo'ious frieodship.

iwniAcfcnndOnW.

dniaaa

Ac* n.

(JupHer.) lUocart.
{LaClrmeiuadi THo.) Motart^

(/I l^masraM ^ jranM.

Aofti.

Thb noble director of the present concert leavea us rery little
to remsrk upon, and we must accordinirly be, of necessity, very
hrii'f. EM'optiiig' the openitip ovPrturo and march of Martini,
which we dij not recollect to have lieanJ l.Lfure, and which is a
very spirited rmupositioD, the M itori/ guci on without inter-
rtipUoQ to the end of the act. Phillips has not acquired fame
enough, yet, for tbe wild and energetic atraina of Pureell ; bat
he aang with feeliof, and afipeared to understand and daij ap>
prcciate them. Wt bad ratbar lofa bea<d Candori, toa^ to »
aoftar atjla. IVaalactfaaCmlnMlto %]rptdi%litadiifc
aa it a*ar daai. andaMil: wahava noHtoy wm t» i munk on
tbe general effect of it, anleta to pardeulaiiie the dnet, wbidi
we win venture to say haa aeldoto. k tmt, bean better <
than it was by Ballany aidPUUifa ; ft wat naUIr • 1
performance.

The sccund act was distinsruished, and Uiifhiy so, br three
splendid productions of the iuuiortal Mozart. The first and
greatest of these was that autrveUoua sinfonia which muaieiana
(in consequence of the exquisite variety of Icaroing and fancy,
elegance and spirit, that runs throuffa every muTemeat ef it)
hata danouuaaied Japiter. U waa paiCpaud tvitb fivganlac
prieiiiani aodpaadiaadagiaalai aaaaaltailUaafaMBglhaBk
usually tlie caaib fcaaaue it wae not hnnW otar. Jytiha MU
hannonic, and alnoat every other eoacerl at wMeh ve bava
lieard it, half of the cffert nf thi- l.i^t nuivnnent has been
destroyed by the rapidity with whidi thf b;ui'l h.are playetl it.
(Vrcaturpi here dispUyed his excellent jndtnin'tit : nuthin? c6uld
l)c mure steady than his orchestra in the fullest hlaie of tliia
aMmiisliinif production! "Ah I perdona," very charmingly sung
by &Iadame Cantdoii and Mlaa t^ilkinioD, aoothed us into a
tranquillity very seasonable after »o much tomnltnoua agitation ;

of dBBgbt trinaaphant^l Wa
aoknfaattiir

bai*

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THE HARMONICON.

105

putaiUy can, ia the hope tha St v81 tw oAea (tiai it c«At>ol b«

Mill WilUiMoa WM T«rjr tMcewtrul in " Reiidi o e*n but
*• OtaufU Um SlepiMM nOm too lufuid in icr ddkiM*
Tbcr* ii aot, in all o«r freat iUodei'* oiUectioa, an air
I Uquiutcly cututructed, in regard to orchmtral acconipa-

Hm Stepheot Mcatd Wtt«r pkaaad witk Heart, tkoa mi^'*

tWa " Hide me prrlmpa it ha\ nunc takiu^ tunr ^bottt iti
but it k > OMn foil, iu our uptuiuo, to the other gem.

€^1^ P^il|^atmoni( CottceH0«

THIRD OONCEBT,

Act I.

, April Ik IMS.

.1. Rcmbtrg.

Suifonia in E Sat

Daet, " GtacetuI coiuort," Maiianie Ciinauri

Allan aad Mr. PbiUipa, ( TAe Crnilien) . Haydn.
Coaceito. Pfaw-raMa. Mr. MMab*

8eaM,ri«m J>fr#yiteMto.lfr.atpto . . CU.tmtW^.

Oni^m, mHf m M M aM.wmtMtr.

AoT U.
Cuadwi Alk^, « U date

QoartMl*, two VtciiiM. Viola, aad Violoaeelto,
Meuci. Moti, Uarj. Morale, uki Liadler

Teractio, " Ah laci, jn^liisto core." MadaiM
Caradori Allan, Mr. Sapio, and Mr. FkiMlpi,
( // Dvn ntmam t i ) .....

Oveitnie, U«r FnUckUU ....

C Jr. MM HTtbtr.

i* Hit

W«fc<r. tt» cwte u r «f M. 11» mm*

clKrtra, dM aiiflM Am •fHj pu« of tht radMk Hrf !■ iMA

evan the ladiea joined, dHhnd to him t)ic opinion entertained of
hii eooipoiitiunii, by aa unBeBCC < :on>ir«tiiiir aIiao«l wholly of
cognrncrnli, nn'\ nmnngst svliich it to be niiiiiberiK) nparly every
prufcwur o\ ;uiy rmim-ncc in London. He jeemed iimrh affwfed
by hit rrcc|iti'iii. ami indicated by geiture hii i;ratitiidc tW the
powerful manifcitatiun of fce!in|r towarda him. Hi* two over-
turn were perfomMd, ve icarrely need say, with more than
common rigmu and eactiiMi, and he coofeaeed tiie admirable
maaoer ia which tlqr um OMited. Of tluit to the Frtuchutu
ft b MMMNHj toittw mijnMtt lb* nljcci ii wgm thnad*
lMN,aairilai»asndlw tofawtaMHiiMTmril. The
urerture to JfftiryMlle b Ml w ml kammt • 6v tlibk It
ci]ual to the Arawrt 'Iii,iww Nipeeta vt mm gmt that it fe
liuperiur; it it aoM tht fiait of IhancU; haa iMfe of fagtl
pcMBt. and ia more etaboraletjr worked up ; but it haa leti the ap-
pearance of Iwriog been etrurk out at k he tt ; h tt'ss thi- ctXi tX of
inspifAtiun than tlic itther. We, however, du nut »i»U tu detract
one i<)t;i trimi (III- iinuse that ii due to it, for &cldiitu tuA a wark
it produced, in tlkc lutdat of it, k atlidden break, when the fo|-
iowiug thoft ivg^, pUjred u aMj w the atriafid loitniaieats,
with their nulM <«, «aa muihI, ii iatradaot^ wit^ aa efact

Largo.

Tliia overture vrra inntnnlly and nnanimmisly enr<»red, and, it
ift hardly neeeoary to add of mirh a compotition, was better
lilislic.t til,- -r. ..lid than the fint time.

A very tine aympbony of Andrea* Ronheif, aev to MMt of
the company, wai exceedinrlj admired ; and, appncatlf, if
DMw mora Ifaak the coBdnctor. Of Beethom** t^ovMrn h
A wt !■»» W lay Brw wh M to tpwfcmhwtin

andante* in A wSn$i i« exreptrd, we do not perreii* \
beautie* in thi* work whirh many connoi«*ean i&caver.

M. Schunke, a piano-forte pb/er of freat execution, per-
fhnn«d»U«d«f paitkcioceasefto^ made ap af a moteiaeot ia
Aihaip HilDor, 1^ HnaBcl aa adagio, bf BaidM«aa» nd a

* Frialad w tbw tforii, ia aa arraRged tana.

Digitized by Google

106

THE UAAMONICON.

AmIs by Kxk. Hk alatli iImuihiI, mmA act whb corretpond-
nt qHfltIt of Hayte ohmiaA anr^bod/ ; iu
I tf detifn. melodjr, and amuafmnit, an ■trildngljr
contraittd to tone more modrni eompotilloni of thtt tpeciet.

It WM pUjrd, too, in a highly rilli^ln'll rii:iiitu r.

The friireful duct or Haydn w,i» well sung ; Phillips tubdiird
]ut viiicc. williiHit h:*cririLini.' .my iif it* fine qliniit}', and com-
bine<l it with Mud. ('aradori'n muni tkilfulljr. M. Saplo did
justice to the Mcena from the Freitehiitz : it wai npectcd that
thit voidd be suuf by Mr. Brahanh the oriffaul pofomer of It
in ihu country. The Italian air vat Ml will dmn. M. WTeber,

aaht • ahutga at a alnrt noNoc. Hm ttnetto fnm Dan
4liaf«H{ went off whh edat ; but dib ii a eompoaition that re-
.fulfW Oa Maft, vow tbat we hareao aftn beard it performed

romni GONCBiT,

Act I

April IT, IMI.

Alia,

Vi|0|*Ectt
riwaVI

I iavitra VleleteUoe,llr. Hadhyaad Mb,

W. IJndIrT . . • . . LinJtef.

Due. " nil ijrjcious Ueavca!** Had. Guadori Allao
BDd M;. Bc^tez ( T/u tim* tf OOtai) . Bttthottn.

• OhIbM by MBiVillmMi (£c4

Siafooia io G Minor

^iiB.''PBiio;'

oaibeClHii

Tka)

QuarleUo, two Violins, VSoIa.aiM) Violooeell^Ma

9pa|:ao1<Kti, Ourv, Momtt. and Lindley
Tentlto, " Pria Hi poriir," MaH. Caiadori Allan, Mud.

Vigo, and Mr. ISrcn i l7 i'">m*n) . . Moiarl.

The Mm nf Pnmi-thrut Herthoren.

)tU»Tt.

Spohr.

I>^Hrr, Mr. Mnni

-( 'oiiHvirtnr. Mr. .ATTWoor*.

We have niufh IfM to say of this < imrrrt than «c h.id of th«
thini, (''.r ii » i» riot fni iiitfre stiiisj in any point of virw. 'I'he
paitoral Hyinphmiy in tcMi li>ii^ fur the quantity of ideas that it
contains ; and thouifh if reduced one-third it would frncnd\y
pleaie, yet, spun out to upwarda of thrce-quartcn of an hour,
; be a great enlhusiiMt who can Uaten to it without feeling;
) $fmftmM of inpatieiKC. It waib Mrertbekaib wttt per-
nwwttMwta / a m i Mf « wi tmi* hit
• ■cntfortar HinasivNh taiicaljr am nqr af
OTtr it to gh« It life aad aahnaaoa. « Hwr difcrent fran the
PmmMen* which finiihed the lecond act!— Iter* is »ll •ptrit,
all fllnraination, from the first tu the last note ; — here technical
knowledirr ii only exerciied tn rCJtr.uii iiml kccji within reason-
able liniiU the bounding fancy of the uuuipniier. The lym-
pboay in c minur h :\ hr\ppy runibiiiation uf both Eclencc and
imagination : what touching melody ! — what admirable con-
trirance !

The Coocertante mitcht, for execution, have challeiifed ail
Europe ; and it wai particuUrly gratifying to witaMt nch a
fuBiljr wiivB. Mr. Uadtay te abaolutcly uaaiateked at a per*
fttmar; wnm fim%MM adait tht ftd^ and bb tosatwuto
tnad b Ua Mmt» ttapi, pniiUir t»ttpfi nay yean
hWMk m hafi a VHHiy wm mmm of Ut pmat. Candour
fctra^l w w u r, demands that we ibould expreu mir regret that
en will so frequently inaiat upon playing their
It aonlf il it «a«igk to ba

afacompowr. Itblktl
thmigb a painful one, of managert to
occasioni, and legnlate a feeling whieh, tba^[b a aatail
one, ought, like MHI| tUttt MlnBl Mtagtt to bt iaaM>

tiinei controlled.

Spohr'a quartet was mnst perfectly pLiyi-d ; but Sp.ii'in>lrtti>
elegant taste and delicate execution should not have been ex-
pended on to dry a cotnpntitlon. But norrlty mustbaaaa|hfe
after, when leren hundred people are to be pleaaed.

A MadasM Vigo aang one of (he wortt ain that Rooiini enr'
VMte !■ initaimi of Uatalf ; and At eiagiaff did act redeaa
the laiif . Tba 'dnet Aam «be JWiMnf 0/ Offcw. tbongb weB
performed, ti ttxt heavy for a concert. Monut't line aria was
as chamiintrly executed by Madame Caradori ai her physical
powers, which nn' nut quite c'liial to a bravura, would admit.
The accuinpaniment was quite perfect. The terMttv fruoi

Witt Mofial ^(aticmic tfMUlMf.

SBOOMD ' OONCBUV

A(iai«ik.

Mo»art.

Paar I.

Symphony io C .

Te net to , S'l^or Co rion i, Si^or Pelligriai, aa

De BeK<>>'> " Giuro alia terra al eielo"
Soena r. Cavatina. sipioe Velloti, " Ah che per me

non v° c''° ((,<ji^rr<i i/(5nwia) ■ iltgm

Duet, Tw o V lolins, II. G. ISlai^ve and T. Mawkes,

(Pupils of the Rojal Academy of Music)
DueUo, Madame Honioi and Si|;r<>or \'clluti, " Se ta

m' ami" (jliifWHDW M /'aMra)
finale, Madaatc Boaiai, Miw Patoo, Signor Cuiinni,

Sj^MtB^fiH^iml Sigpor Peliegti^ "IMcaflgUol

Pabt II.

OTHtare ( Oer Bthemthrr irr Gtitter) .
Aria, MiM l*Blnn {Alalia) ....
Coocvrto, French lloni, Si^nor Poni
Trrxelto, Madame Bonini, Si^nor Begrei^ and Sgaor

Ue Bei^is [L' Imjanno Felic-)
Aria, Minlnnu' ^^^^ Vi;^>, (het Fir»t .^pIx*n^«nce in thit

Country) " l)i lanii pulpiti"
Finale, Madame Ijonini. Miss Paton, Signor Begiex,
Signer DeBegnis, .S<i:iHjr IVUe^'rini — Mias BelleEaai-
bcrt and Mr. Snpio, jun. (I'upiU of the Royal Aea*

of Music) "Sigaoiel di foori" (fV^nirv) JWiMarl.

I.4adef, Mr. F. Caaana.— Ceadaetor, Da.CaorcH.

1^ thtTm

fFebtr.

Thb present eaM«t Inyraecd very mMk ea Hm Ibmer eae;

Moiart s symphony In C, and a new urerture by Weber, full of
his original spirit, were both perfonned in tlie most accurate
and animated manner. The fitMle from the Medra of Mayar
is a fine cumpusition, the choral opening particularly, — but it
wants curtailment, in a concert-nwrn at least, for it ilufs u,jI
shew the same rich, undiiuinishing flow of genius that mark
some of Rossini's, and' all of Mozart's, finales. The tenetto ef
OuiUdmi owed auidi to the performers. Sig. Velluti's seenst,
and ladttd tba whale of hit singing thit evening, was so dis-
titoihy to aureate thatthqrlMnllync»««nd tht tbaeka ttej
ivcelred, till Iffin Patent baautiiil lato«tiomia»«bainiat
aria bv W'rhcr, restored thiai to a healthy state, M a da aw Vige^
a Spaniah Mutante, aaag Ronlai'a " Tu tk acetndi,' wUb- .

tbuPaitfal

i^kjio^uu uy Google

THE HARMONICON.

lOT

ccrto— of a rtry modest and ratiomd Inftt — pkaaed rourh ;
■ad the duet for two violiiM, by two pupil* of tb« acadnax, ex-
cited the utmoft attentioo. and ebtiiwd looi and weil-mcrited
BpplauM.

M. *«o WcbwdiiedcdlopeiioDttepeiftiwnoeof hbem

THIRD CONCCnT, Moodajr, 84th of April.
Part 1.

Sjrmplionjr, (C minor)

Tenrtio, McMn, Sapio, Phillip*, and l>e Begoii,
" Dilie chequeitocore" .....
DncUo, Si|;. Velluti and Mad. Bonial, * MnhlPipiri •

tapimF" {Aurrlimo in Palmira) , . Riunni.
' I from ihr. Crtatun ..... Haydn.
Kaeil. Mr. Sspio, " Aod God crMled wuk ia hi* own imafe."
K\lt n "In mtire wonh."

Chora*, " Aecompli<h«d iithe f^lorioa* woifc."
Kccit. and Trio, Mr. 8«pio, and Mr. A. Saptoad Wh
Bclkhamben (PupiU of ilw Rojal Kmtimi ti
Moaie.) " On Thee each livioK foui.^
Gmd ChiinHi "AceemplMMd bihagtoiimMvaA.'*

P*«T IT.

Itfivr.

Owiture, l>rr h'rrurhUli

Oatraliaa, Madame Uonioi, " Di piaca^ GatMa

Intm) ffotn'ai.

OaMaito, Violin, Mr. B^riot. (hii flmtappearan-ce in ihi> CognlrjrO
Ari^rMadaint' l>'Anit'T9. (hi-r tiisc a^<jM'aratic4- \n thii
- Oaaalry,) " Alma invitia" ( SigitrnfmU) RetmU.
QBiatctiOtMadaaie Banini,M>» l>>u>a«lilM«a. Sapio,

FhUlipa, ai|dI>eBcrii*,"Obgaardalir . Ki$M.

e,(MS.) . C. UieM,IhiiiiloftlM RgrolAtmJtmf^Mmtc.
Leader, Ma. MoM.— Coadactor, Da. Caoveii.

I» tUi MDMrt A* iM tw iMi ita l plMM wcm wcQ oiMMa and

n-rll execotod ; the iplendid tympboii; of B«eth»ren, aud the
equ,illy fine oTcrtare oif Weber, require no encomiums now. The
violin concerto of Sir. Bcriot .istnuihlicii anil .Irlijrlitod us: lie
appcwrfil on the present O(!oa«ii>ii tor (lir first ti^e in tlii*
country ; iiu>l, if «re may venture to judj^c from a iinf^le (tcr-
fomiaiice, vre bAve rarely heard hit equal. Our limitii in the
prrs^tit Number will not admit 4if oiir adding^ mure un thia sub-
ject ; befu(« oar nest appcan, we tn»t that other opportunitiei
win hare bm aflbiM «• af itniigtiMninf «ur jadpaai* on
to mriti.

Of the Tocal portion of thb coocert, the lea* taid the better:
m hart enl/ to flhwm that the imaA, malBlely for once
hMpinr vp thrir'pMch, nt vot d rnppii^ la Htily to Sl^nur
VaUuli, axhibtled Ml I rtmiiU a n ia Hi true eolours.

The perfunnanre temdnated with a new overture by Mr. C.
Luciit, ii p.ij il of till' Academy, which holds out pruuiiw! fur the
future, and wa« well received by the Cew who rrmained in the

XlMO'l TntATKK.

DiiRi.vo the laat month, I'irfro t Errmita, or Moir, wnt per-
formed herf, with AMadcitH.iM'lI- IVmiiii in the principal cha-
rarlcr, and Siirnvr I'dlcfriii tl.i- suhstitiitc nf kemorini. h
failed, as mif bt hare been Hnticipjitrd ; for thou|;h Madeaioi*eIlc
fioawi waa uwre auccessful in tiii* than in any thiiif the has
■MMJitodt rat abe has many diaadvaotant to cmlend with:
1 ratgiW WM tamfiMr MMrifiMili bitaff ml into the
I ia a part rtUinqidNi • wta? tfll

The moiic of tUa— by lioaifettr Boch«»— ia the nott
laea itaff «• mr kaai^ ud la net watdi nwiiier

.\ liulirt 1m» at Iro^ been produced. La .VauaeNce efi?
/ Vmui, ciiiiipiiKed by Mr. D'En^ville, in which tiieQurcn nI Loi p
ami luT Sua appear as twiaa. bcinf both (eaeratedfiniai the foaon
of I Ik' At the <<une flMaeail} aat iMf IhfiadMlgiMinb wkeB

tile lovely guddeu

•■ At a birth

To ivy-cro«ri>ed Bacchut bore,—

are ready at the sea-»ide to receive and clad their newly-bora
loutherl ^--'-i-!- t . ««._-....- m-.i _ . .. .

cum mo
Word.

On theSSd uf March. .M i huiic PattaepMared a:; Dir^iicuioiia,
in Hotiini's OtrUa, and drew the firat rnlly food house that we
have witnetaed this season. Wo have said so much in furiner
Nunbert on tJie subject of thia opera, and en this charminr
iiagei'* nerformance in it^ tiMt «• hart i«all| aetlHar ta adC
except tlMt the $aDg ea thli oeeatioa « wall m ever, acted
■we dniHiariy, if posaible, than before, and was received with
eiarf naiil « admiratioo. Oirioni'i Olello is excellent: hi*
penoaal appearance here is much in hii favour, particularij
when contrasted tu what we have seen in this chitracler. Eue
artinjf, dcvojii uf viilir.\rity and runt, chewed a ju.it discrimina-
lioti, and olit;ii[,cii i,'i-rii'r.>i i oiiiriif iid.ition. 'J'lie uglier |i4rl«,
Porto's excepted, are badly lUted, aud sadly espoae the weakneia

CofWMT-QAKDMM TnAISI.

On Wi-dnc»d*y the 19th nf .\pril, the lonp-t.illied of " Rotn.mtic
and Fairy Opera," Ourron, i)r tiir Ri,f-Kino << ()*tii, m.is
performed for the first tiiiic iii tiiiji ilicalre ; the (ir.Muiiti ' [>iirt
written by Mr. I'lanche, the muKic compoted by M. (. ail .M:triii
von Weber.

Of the former, the author speaks thiu modestly in a prcTucc
to the book of songs : —

The story, OB which tbi* Open ia founded, appeared ori^oalljr
in that &aioa* collection of Fmeb B«*Hwea*, " Im WUMM|«w
aifue," DDdci the titte of "Muim rfv AMmleaaw."— Wieland
adopted the ptiaeipal incidenu, aad weaving them iaio a web «f
111, own, composed biijastly-relebmled Poem of " 06mnt,",wbieh
bai betn tastefully tratnlatcd into Kmrlish h» Mr. Solhebjr.

Tltp «Lilijfi:i luas betMi frr ij u r n: 1/ liniiii.iiiziM, twice at leait in
Cermaoy, M)d twice io iCiifland, not counting a Masqae by Mr. So-
thdir biaiielf» wiriib I be M e wa wee t*w neiwl. At the Beeaa vea
Webei*i Mer the leak ha* beta efatai atieeipied} and lam ia-
debted principally to Mr. Sotheby'i Aeftant version for the plat of
ihe piece, but the demerits oftlic dtalenfe aad Ifrieal fnrlwnt mast
be viiitcd un ray bead. They are preiM-nled to the I'lihlic but as
the fragile ihreads oo which a j^reni fnmjwsrr ha, veiiluriti (o
atriiif bia valuable pearls ; aod fully conaciou* of the inHueocc ikal
ibeaBlitbaBlMdM mjatertioa, I feel that wea ae Mgetda lhaea
tlmadifc

ir enkllike pnU* «o nw li«l«a«.

"I aa ael Hm rwa," Mjn Dm Pmiaaasaih

"Bol I Un 4wtU bMdaiiL"

I'be following are the prindpal ciiaiaeimi—

Charinna^ne ..... Mr. ActriM.

Sir Huon of Gui<iin« . . Ml. BaaNAH.

Sberaiman, his S4uite .... Mr. PaWCBTT.

The Caliph Mr. CHAraAN.

Babekw .... . . . Mr. BaKab

llaiaaa ..... Mr. Isaaea.

Keiia Mi«!i Patoji.

K.TtimB ...... Madame VasTan.

Namouna, FaliBM'* Giaadmoiher • Mr*. DavaaroaVb
Almanaor .' . ' .

Slave Mfcljaaar.

Roahaaa iS^J^'

ObMwa ~ fijiM.

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106

THE HARMONICON.

The opera i>prn* in Ohcron'i l>'iwfT with a ctiaruloT fairi«t.
Up<>n06<T0n j iiwiikin-, 111 ■i-[i.:ui'lv of PucA' irKrre he hu Bmr
•ince " cock-criw." mui i« inforracU Uuil he bu bMn roand tKe
worW, ami ami»nic*l oth^'r wondm, H 'U i m wJ in that tlMVt ipMe

Kliph uf Hardnd. fw hit bridt, mU Idlliv
on hit left hand. Oberom, hunrng Mkm u

, to Titxnia, until

- " Some fond pair.

Througti wf} tni woe, 'mid flood, and c'
Iwep iheiT plighted ftui^wvtobie,^ ^

dw of nd^Mlbw thaw P«rti«i M 0*e teit. for

m « Ui oiA. JFhw b comtModed to trampurt

, islo hit p wea ce, wUch b
Tfct tUff opens, aad, on % flower;
bank whieli ariae*. the3r are dlacorered aaleep. Rfixa it here
Introduced to Sir Hmoh in a riiion ; and on his waiciog it tuid
Oiertn, that he thall obtain the princrsii xnd nlum tri-
umphaotlr to FVanee. He then pre«nt4 Sir ffuan U l»ory
han, wImm power Obtron tella him i« lurh ns to

BltBf him to his tide

IW jfiutm fell beiveiB

V» abo Bfiiiiiti Sheratman with a f olden cop, that will jrield
wiM to OMfBDoeeDt. bat molten lead to the i^lty mouth. The
Mrtiet ue thin timiponed to the bank* of tbe Tipia. and to
Bofdad, where Sir Huan heart from Kamonna, that Rei»» b
to be married on (he followinir, dar, (he bario^ prerioutly en-
countered Babdcaii, hit rival in the afTeclioo* erf Retxa, and
tried the test of the cup up«n him, to liit di(.idranta^e,) Rn<l he
fclmiiiiii II u\nm an interview at ail hazardt.

We arc now introduced to Reha, and hrr nttcnd.mt Falimo,
in tte h.ircm of the Caliph, on the cvenin;^ pmiuus to hi-r
praj>oted inarriajrc t<i l!nhe);(iit. Rriia i.i ili't^nlv iiiipresspd by
a viiion in favour of the Knitht-l*al.idin, aiul oetfrrninps to die
hj ber own hand, if he docs nut come to ber reaciie. At thin
■ement 8tr Hum aai M«matai» prtMeit tbenltei, and
trmt»^ Mceced, hj the asnstance of Ik* dmnwd hen, im

I, and earrjiof off OM mhtmu, «Mi her
Otereit now appeare, nid hmar taU Sir Vuen

liiat he hn« redeemed hits kni|^htly pled^^e, tnnmni Reiza that
If the repcntt the itcp the hat taken, the thall be rentorcd to the
caliph, litr f*t1ier. Slie, however, is ready to meet any difficulty,
or even death, rallirr liuvii part from Sir l/uon.

The partiet are llirn lr»ii»p<>rtpil ti> the port of Ascalon.
wlicre they embark on boant a (ireek vf«sri, ,-\tnI are »hi|i-
wreckcd on an itiaod in t)i« .Mediterranean, by a stunn r>u^<><l
hv Oheron't command. .ViV Huon appcan, siippnrtinr Reiza,
who Mcmt to be (hinf , but, upon hit tmplorinir the a«!iii,tan<-e
of *' the ruler ec the iwfial imv," the gnUen cnp it washed
Mheiv. a drangfat fron wfekb iW Mil— tie the expiring pincets.
BIr Htm then aicendt a nek IbrChe Mipoie of loukintr fur
•aeooor. when a Taaialan eemir wMuxj ipmnt the crew of
which^hnd ual make^wfid pfiie

the there.

The captain of the eoriair, on hi» arrival at Tiinit, prc«ents
hit fair captive to Almanznr, the emir, who bcconiei enamoured
of her. Shrrnunan rxTxl I'ndmtt have been also maile captives,
and auld as slaves to a pardcner. To the ffarden of this man
Otteron conve/i Sir Huon, who le arna from Fatirna that the
|»riiic«it i« kept in duraace io the harem of the emir. He dc-
temdnee la uM^hi ■dwinlwi the lybit of a iUtc, and in the
garden (whhh tti hmf t i w w Iw I m i) be fiada » b«w|e«t. which,
aecaediw to Ai Mittm inlnpiitaliea. eouon the mtenla
oT tk^dSMh He appliei te AMm^ whe inmt. Vm dwt

it rsn come from no other than Reiza. Sir Tfunn, in pnr-
siiiini c »( the injnnetions conveyed on a leaf of one of the
flowers, pane* into lb* baieat, and mabee tu eabrace a reiled
ladr. wban ho w m tmn to ho the priaoM^ hut who ■■«*» to
be AatiMd; Ow wAor Mir. wte hod hoooM (MMwed

« wellH JMm^

of hiacapfifo. Atf
Sir Buom to an f

importnnitir*.

In the interim, the UUHOHd horn hat patted iato the handt of
ShtratmaH, who found it rmpendod in the ir^nlen. Tlirou^h
Fatima, be it induced to try if it inik-cii hi- tlie ui.iirii horn, and
the, for her temerity in douhtinif, i* condeajned to a slrnnji; tit
oflatifhter. She ha» di*<;overed the danger of Sir Hunri. .ind
intrtita ShcraKman to pnkceed to hit attittance. He arrivet
ju«t an the lijcht it ahiHit to be applied to the funeral pile. He
tonoda the horn : the whole of thejtttendantiaie initaatl^feixcd
with a dandnjf mania. " ' * . - —

then appears, infunn i
ia ceoipletcd; timaapeita
marM. and the emmo dn .

The dramatic part of thit'piMO WM only intended a» a vehicle
for the mtnir, and therefore ooghl Bot to be examined with cri-
tieal severity. So«ne of the vertet are far aboie mediocrity, and
rise into poetry ; Ihom^h there are w e;ikiii's>i', in the plot,
and in the fenenil iiianaijetiient ot tlie i-tory, that are too
obviotiB to be concealed. The si ctir'rv i.* far iiojre than

a, and go off to "lin^ toHK" OhwM
I the ptiaae aad priaoeM th ot tfa lr ifehaHoB
ipeita the parlin to Ibe court of Charle-
riodmpo.

houie, whirh it

any that wc rei M|l(i( t to have s«-rn, r-vi-ii in tlii
to celebrated fur . -..i i I'.vu.-f in this il''|.i',ri-iitM)t. The machinery
it cleverly cuntriveU luui adroitly maiuj^eU, and the deoorattoni
rick and correct.

Of the mittie wo ihill hove to ineak ia on next Review ;
we theffeTwo ooly e b ei w e g oM foI hr im, (hat it it more cakn.
latad figr «ho uieatlb Jodfo Onlhr the omilitode : that thot^
it ii not withoat melodj,— «■ oeme hare atscrtrd, — yet thie if
very mtieb concealed from ooohmhi ears by the almost over*
piwerinir fullness of the aecompanitii'Mits. ^Ve heard it re-
lieariMrd, ami ailmired many parts ot it : wc Httcmled the firat
performanrc, and discovered what had csiaprJ uf, the previmia
evening ; and wc are perBiiiwIi'd that a ti.rther he'arinij will
reveal to u". beauties that before eluded our tearcli, while
our attention was divided betwciO the dCNM^ thi BMil^ IIm
tccnery, and the performers.

M. TOO Weber bianelf oendneled llw eraheetra ; he woe f«>
eeived with a warath tkot hie vanW. pchafe never, bee« e»>
ceeded io a tbeoire: Moy romds ec applaoM. hale and hond-
kerchielb waving, with etetrv other deoMMutratiea of approval
that could be deviled, tettSfied buw ttronglv the public opinioa
wat in hit favour. All this was repeated at the end of the
opera, when, — by a Tuf(far and udiniit custom ereepinir into
this country, b<it now prohibited in France, where it h.id Its
birth, — be was called on the ttage ; * ""Jl^^^^^^

tu !h' thus iiri>uj;ht forward.

'i'hc opera ivas indeed performed with a correr tneiis. in e
department, that reflects preat credit on all enfafe<l in it. Mi"*
i*ataa never lang with more ability and effect: Mad. Vettrie,
in her two exprtetire aeoga. ttroofly aided the compoter*! de>
' ~ per, certainly; edMrwiiO W»

with ber perforaunee, Ifr.
Brahain gave hi* bctt powert in aid of the opera; be never
was in better voice, and was never heifd to more advan-
tage than in the grand Scrna, " Yes ? even love to fame
mutt yield." In the tuAer ain he was n<it less successful. .\nd
at to hit acting, — no lony as a singer avoids what is ridieuh>u!i,
and ifuanlt apaiiibt emu-, — it it unfair to criticise him. i ).'" .Mr.
(". liland we cannot speaL I'.ivoiirablv : his voice ia tliHai^roraijle,
uiid his manner is not much better th»n hit voii-c. H'hv did not
Mr. Dunuet take the character of Obervn ? why incur tlte dan>
ger U pfaieing it in aoeb hnnda?

Thoonheeim didiia doty well; and the chonaii entitlad
tonof

aign: Min H. C^wn wtatt nower,
were pleeeed upon tin wbolc wit

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THE

HARMONICON.

No. XLU., Jvss, 1826.

MEMOIR OF NICOLO ZINGARELLI.

NicoLO ZiNCARELti was bom at Naples, in the year
1759, He entered the Conservatory of Loretto at the
age of seven, where he had the i;oad fortune to profit hj
the instriKtions of the eelotinted Feinnli» and iMd for
bis leUoir-disciplcs Cfananw and Gitwdanelb. After
baving ande • cnat fmidmogr in tht alwlf «f eomter-
poioOiefdt tiw neoeuitjr, at lie Mandf enweoei It,
di ftatisart it materiale del arte musieaif, of poe6xing
tlie matter of the musical art ; and for this purpose, he
wpnt tn take lessons of the vvoll-lcunwii Abbe Speranza,
by whom he was initiated into the secrets of the loftier
parls of coinnosition. Mehul, on hearing this Imit in
the life of Zinsjarelli, exclaimed ; — " Yes, in the arts,
and above all in tiiu:-if, iht-rc! up- two kiliils initintiun :
the one, which leiuls u? 1') a kn iwli rli;^ nf ih.^ treasures
of science ; the oIIut, wliit:!) (levpli>[i('s w idiiu us sensi-
bility, imagination, and ta&tc. In the former, all is
obedience; rules l>car the sway: in Ibe lattMf aU ia
liberty; it is natwe that insDires."

We may be allewed te turn place to offer a few re-
marks, as a digression, on a mode of instmctton which is
but little known, and still less pneUsed, When a popil
bas leemt connterpeiiit and fugiia, it is aanally iaaciMd
tbat bis tatia are done: and yet the veiy revene u ibe
ael: Ibe itadj ef tm ooavMiliaB eenunaiOM afler^
vaida; fai«llwinnli,Bt thateiypafailwbM ibeadMoli
faidi. Itii^ ibereTore, neoenanr thatwbenbebaaae*
quired a Itnewledge of the mechanical constmetion of
music, it should be followed by three other classes, which
•nay justly be regarded as forming the real completion of
a perfect musical education ; the first is of dramatic, the
scennd of inslrumeulal, and the thinl of sacred music.
De|)ri»eJ of the aid of these ihrer: classes of study, we
may be able to write walties awl ronianrf-s, lint shall
never he capable of composins; a work uf any di,r,iitv.
There are now, as formerly, schools of music to bo found,
where the mechanism of the art is tauf;hl, but where the
iiitellcotual part of it is never dreamt of: as there are
sch o ils of painting, wliere the pupils are taueht bow to
grind their colours, but never iBstnicted in tbeoest mode
of eujploving them. .

The Abbi Spennia. in. Italy, and the Abb«. Yogler,
in Germany, hare renteed tlie most imporUnt services
to music by cODf]elia« wbat was left ddeetive in ibe in-
atracUona of tbeadtoak II ia aHlMaiit le the ^ory «l
Speranza, to meBliail Aat agfaw^T M^ ma Ui mmUj

Vol. IV.

and bid not Verier rendered himself so celebrated br
his own compositions, the honour of forming three lueb
disciples as Winter, Carl Maria von Weber, and Meyar*
beer, would bave bcien snfficient to immortalise his xftmit.

ZingareUieeaieemied to hia eouatry tbe first-iraita'or
bis talents, in Iba iipefa of Mmteama^ vbbA «aa pro>
dnoed at Naples in 1781 ; and tbowh net raesirsd «ltb
any very ehcoura'^ir,:; sMrniss by the public, met witb
a more flatterinj; siiffraj;e in the apuTobation of Joseph
Haydn. It was from this mnminit tfiat a friendship was
formed hotwwn thfse tno threat artists, which a long
course of years senod only to cement.

In 17S(>, ZinsrEindli prixluced at Milan his of>era of
Aliin^lii. Ill ri periird ot tniir V'^ars he hail paincil ex-
perience ; hp had wisely iilniudoiiod the too sludiwl man-
ner that prevailed in his .Vi7i;.':M-ii i, aivl adupted a more
pure and simple style, which insured the success of the
piece, and which^ liffHy, <h» eaa p s— r has nerer sfaiee
abandone<l.

AAer having composed various works for tbe Yeaetian,
and other theatres of Italy, he paid a visit to Paris, in 1789^
where he formed an acqnaintance with Marmontel, wbo
furnisbed hiai with tbe poetiy ti tbe own ef AnHaom.
TUi pleee «•§ melfed at tbe .^ilmilv ibjfUe da
Mmiam viA vaiy flattering success, bnt was driven
firom the flace after a few representations, by tbe politi*
ed events wUeb at this tempestuous period banished tbe
Mnses, ftr a season at least, from the oauital of nanee.

Zingarclli then rLtnrned to Italy, where be applied
himseli to the study of church music, and, after undergo^
ing a rigorous examination of llirc'^ days, was fdected to
tlip situation of Mji-siro dt Gi;.- //i ia the cathedral of
Milan.

Upon the death of Pictro (;ii;^lielmi, in 1806, he was
called to fill his place in ttip chapel of the Vatican.
Since that period be has ceased to compose ior the
theatre, and MS dsmM Uasdf eatirily to eetdetiastieaL
music.

Zlngarelli also suoeeeded Guglielrai as one of Ibe cor-
respondents of the Institute of France, and sent to that
scientific body his cantata of Ugo^no, tbe words from
the Inferno ot Dante. It became tbe duty of Mebnl to
.J tad (be ftUowfaig

tbe aabstaiwe of bis 1

rive an account of this com\
M tbe aabstaiwe of bis report }•
*■ Ahhonah passions of a» TislODt a nature wonid BOl

tal&vithte tbasfbmefiMUbr, yet this

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110

THE HARMONICON.

poser has Rucce<'(lc<l in rrsolving the problem bv the ac-
cents of the v<jice aliiiR-, and Mithnut ihe •M of U
orcbeKtra, heretofore deemed iti(li.v|KMi'-alil>'."

By Mehiil, this piece was ranki'<l above every other
work of Zingarelli. It possesses «U the noble simpli-
city of the ancient school, and M wuA IMiag M ■Mo Jj
u capable of express! nsf.

The pnxluctions of this maslir Uurr <iblairi<yl for him
A great celebrity, not only iu Italy, but also in other
parte flf Buopa ; but his fame will wtimalely rest on his
•acred compositions. Hit Romeo « GiutieUa, composed
for Vienna in 1797, bas been ruj popdar, tbongh its
cUef merit aud greateat attraction are concentFated in
tba lUid act, in the tonb-teene. Tha Bittidi public
lNeMM«Gquainte<l with this qMinin mi| bjtte ad*
■dnbia ringing and acting of Madaiiia Faitaia Ike Atf
racier of Romeo : the three principal pieeea wbidi it oon-
tains, are the prayer, " Sommo ael," tbe dnet, "DHMpie
nuo bene*," and the expressive air, " Ontbra adaraia!"
It is not generally known that the latter — wbicb in point
of fact is the best thing in the opera — and alsi the reci-
lalive that precedes it, are the compjsilioas of the cele-
brated singiT, Cresceiilini.

In 1S04, Crescentini performed at Vienna the charac-
ter of Rmiu-'o in this opera. When he had finished Ihe air
Omira adomlih" two doves were seen to descend from
tile centre of the building, and place upon his bead a crown
of laarel, while from ul parta of the theatre garUnds of
myrtle and flowen were duom vpon the stage at his
Ml. Wa are h^y, bowerar, in being able to add, that
^ii aort of Krave uroe it now getting rery much out
flf ftfOViBtBoaaplaoia vbaiaitoertafnly tooltitoriM.

SuA mi tha ftnm ubieh lUa ainger acquired in the
diaracter in question, that, in 1809, Napolaon tignited
his wish to hear him in the theatre of the l\iilerie9 ; and
■o delighted was he with the performance, that, on the
third representation, he sent the soprann the honorary
decoration of the onl<^r of the Cuutojdic dc Fcr. Sucn
arc the ahsimHtips of which even the most highly-pifted
personi. ure v riit timcs gwilty ! The reasonable complaint
of a veteran oflic cr ou ihil occaiion, and the witty reply
of Madame Gras&ini, aM «aU ka0ini» bot Vtk of m-Mtaia
to be inserted here.

The Oratorios and Masses of Zingarelli are taperior
to his theatrical productions ; and we shall be joined by
taay amateurs of lofty and pathetic music, in expressing
wmh that La Disiruziont di Gtrtuaietnme had been
in place of some of Ihoae insignificant com-
J wMm toraftpm time to tiaMimpoaaiaplMaTjf

•f the public, aid «yeh mnd
to U iha MM Mia and spiritless
A and IfcaCVMliun. Itisanongfa

rUMMMckaadlbaehaflm. Itis'anongfa

to say, that this oratorio was executed in Paris about
flfleen years since, and produced an effect on the lovers

of genuine music that iuu; never since been obliterated.
The recitalue of this work is of (he most striking kind,
and procured for the celebrnted ti inir, Crivelli, as much
applause as he Rfterwanis obiainL^l Irani his fine decla-
mati'ni in tbe CU-m^-nt.i dt Tsto of Mo?4\rI.

Of this oraioriu \hctc have b«!eu (.oparatelj engraved
two airs, Mi-'.tr r do^'uii , and Venqo arxH di lauri, besides
one duet, N<in n frena a miti. These pieces are stamped
with a diaracter truly damical ; so indeed are all the
productions of this great master, all those at least that
aw the fruits o f his riper years.

VM.B.t>IMftlA

Zingarelli remained at Rome from 1806 to 1811.
Having.al this period, refused to comply with a Command
he received to produce a Tc D\'um to celebrate the birth
of tbe king of Rome, he was, by the order of General
MioUis, conveyed tn Paris under an escort of gendarmes.
Napoleon, who bad more respect for a man of genius
than was felt by the ignorant satellites of his power, sent
for the composer, and demanded of him why he bad de-
clined to obey the orders he had received. Zitigi yHi
replied in a tone of great Grnmecs ; " Becanta I Itmr of
no other king of Rome than tbe pontiff, my Baiter.'*
Napoleon, who, to do him justice, was a just aitiamlor
of character, and an admirer of hardy rirtoe^ ihrnagad M
his ihNlders at Zingarelli's blunt reply, and HMda na
aaiwer ; bat thafbUowiog dajr, the mm of It^ imam
1M pfajoed In the oaapoM'i S«idi, vjib aa wder to pi«.
pare without delay a man for tha Imperial cbapeL

At the suggestion of Coont Znrlo, Murat tent for
Zingarelli to Naples, decoral«l him n lib the order of the
Two Sicilies, ana placed him at tbe bead of the Conser-
vatory nf music, with Fenaroli, Paisiello, and Tritto.
Zingarelli has survi\e<l ?>oth his fellow-labourers, and is
now the sole director of the establishment.

It is related thai, in oue of his visits to the Conser-
vatory, Rossini demanded rather abruptly of Zingarelli
his o|Mnion of his music. " Sir," said tbe director of the
Ck>nservtitory, with a fraaknen that does honour to his
character, "jour mnsic may please at the theatre, but it
will nevar dalhrov schools ; I bare thought it my duty
to forbid your scores from beii^ plaMd iu the haiidl of -
ray^^pils."

The moat diitingniihad ai
idli am Carlo Bigwili aai
caiaed iMHiTpriMiDtta 4Um
far eonmorinoaa aa naU Mai M
tread closely in tbe footata|a af
particularly tbe latter.

The following is a list of the works of Zingarelli :-~

MonU rm m a , Opera Seria, Naples . . 1781
Telemaeo, ottia la yirtu / 'i riettriM^ GaaMliW Milaaw

Ricimm, Opfra Seria, Venice ... 17M
Armitla. (}l}CT^ Sprin, Rome . . 17M

Antigone, rrand Opera Seria, Pari* . . 17M
La MoHe 3i C«Mre, Opera Soia, Jllaa . IWl
n Men0l» M Um^gMt, Tie

di Tatto, Puit . . . . • IMf
Romeo e Giulielta, Opera Seria, \1enaa • 171^

Pirri Ri it Epiro, Opera Seria, idtm , 19M
Ero, Cantata idem . ISM

Prefhiera, coif arc. di Crmhal» idem . 180S
I,' Oracoto de' SannlH, Opcr-i Seria, Naplei IHC
Part of the aSrd Canto of Dante u Inferno for tevMsi

voicen 1B08

Jji lH$tru2ionf di Gerutalemme, Orat, FloreflC* IS09
Jl Trionf* di Itavidt, Orataiie . •
Iphigenxa, Opera Seria . . •

/4r«a«en«^ Opsra Seria • • •

ApeUe e Camprntpt, Open ' . • >
// Contt di SMagnm, Opmm • •

/nez di Cattro, Opera Seria • • *
II RUratto, Opera buffa . .

Together with Mveral iiuuaes, and coupotitioDS for the Churck.

■oowaceoant of thii compear and Us produc'.ioDi, *ce
Harmunkxm, Tel. IU. p. til, aad tor oaa oi the co f oa it iont o( Uie

Digitized by Google

THB HABMONIC0K.

LA BAin BUHOn*.

TaoncB the title, and Kmie of the nacbinerj of this
b* laiuB bim the flctioo of the White ImAj of
jH Ihft Mat; is that of the retora of Henry
to BDoanran in Guv Maimenng. VL ScHm
ii » WJ liWil— ffl, fcilile, and lively dramatic writer —
aadt llMMfh p^aps La Dumb BUnche has lets vi*
com&a than manv of his piwhrlin, U is put together
Igr • perwHi «fid«itl7 voy laun iii M i t «m Ike st^>
and we dovbt not ft is extremely eflhelive i« fte lepre-
sentation — even withoot taking the nerit of the music
espttcially into consideration. M, Scribe, however, in
Sfiinr' (Irj^ri'c, shares, with iho great majority of his
countryman, that iguorance of English customs which
usually makes foreign compositiims, uf vthich tho scuiie
is laid in Eniflaiid, so ludicrumly full of bluiulers.
Caiestmij the Glouni of the opera, is to become Marl of
Avcncl, by the purchase of its ancient castle, u degrct.- to
which the territorial appcllatiuiis of Scotland were far
from ever bciiic canwd ; and Duncan is given as a cha«
lOelcrutie/fidrHHUw

The piece opens on the eve of the sale, at the cottage
of one of the ^ncipal tenants of Lord Avenel — the
Imir to wboae titles and estates bat been Buatiag ainoa
ht waa ialinated to the care of • fdthlen servant (the
SMMaa afriMMiJ), oa lha linakia( o<it nf the RebeUioD
«f 1745— is whad tba last land had jjii^cd, — aud in
MMuequence of wbkh he bad fled to FraaGe, where ha
■nbeequently had died. The beir of Avenel, however,
kfter undergoing various hardships, had become a soldier,
and obtained a commission through his own merits. He
bad been wounded in Germany, and tended, during his
recovery by a fair creature, who disappeared at his con-
valii'sciiiic:*", oiij who, of course, turns out to be the C«>m-
panion of his childhcHxi, and the object of hi^ love. The
character of this younjj officer is written in a very spirited
manner; — he is gay, trank, and ciirclesis — and arrives at
the hoase of Farmer Di(:k5<jn (as M. Scribe, by way of
being Scotch, names the old adherent of the House of
Avaaal,) iaat aa he is going to christen his diild, and
agrees to oeooase the Eodfather, in lieu of the sheriff, who
had been taken ill. His hosts entertain him with stories
«r the mito Lady- and DidUDn alleges that he owea
Ilia nbole fortona and aoeoess ia life to bar,— baaaiiie

^ Iw.lba late Lord Avenel, tbronffh

chaiitj— ud fha fbel n Inown to Anna the ward of the

last lord, and the German incognita the presunt. She
has returned to Scullaad with Gaveston, whos« ward
Lord Avenel had made her, and avails herself of the
character of the White Laily to act the castle bousht
br the beir. She sends n letter to Dickson claiming his
obedience as the ^\'llile Lady, and desiring him to come
to the castle ; he, friL;htcned to death, prevails on the
young officer to go in bis place. The latter, who is afraid
of nothing, passes the night in the castle, and is faalf-
disposed to giva oradesMie to tba lafpMl, in consequence
«f Anna, wbo lecognisea ham, nlaling all that has hap-
fened to biau She fartbcr aasaits hiaa that she whom

• OiK'raComiqar, rn Trni. Acipi, Parolei deM. 8eiibe,Masim
de M, Hui,-lHi.-ii. rrp,rt-«-ni<T f«iir In pmnitl* Ms^SPilTMilW
Ro/al <k i Upcn IkHaii^ae, lu Pieambn, ItU.'

he lores (meaning herself) will bo sent by the While
Lady tbe next day to the sale, and that he must obey
herimpUdtlT. She appears, and makes him bid aninst
Gaveston, UU the castle is knocked down to him at
an immense sum. Lady Avenel, on her death-bed, had
oowanicatad to Anna, that treasure to a considera-
Us aaouBt mi bidden ia the atatue of tbe White Lady.
Intbiahdlarslataetliied^aaaeueBttakaaplaoe. The
sutne baa been lenofad from Ha pedestal and Anna at
first is in despair. She fliida it, hofmrer, in the chapel,
whither Lord Avenel had reimved it Ibr safety— and, pos-
sessing herself of the treasare, appears in the place of
the statue, at tbe critical instant of time. Jolian AveneL
who, likL- lloiiry Bertram, has b * :i startled and possled
by vagtip rccoilt'ctions, is ret:ii^ni!>ed — his Identity is
proved— and, ufler some w^rnule on her part, as she is
not of noble origin,— ^how trench 1)— he marries t he
former presencT N bis life, Md tht f w a ni |iMU«ar «f
his fortune.

There are some subordinate characters — the farmer
and his wife — and an old faithful nurse of the family-
all spiritedly sketch^! oC Some of tbe cnncerte<l ^lieces
are very long— aad (as is the goad CMtaas of l^rench
operas) carry on Iho baaioaaa aflba fiaea, mMMwM
men mmtcmntm anoa it.
W« aabjoin the iraida of ^ atmiB wbhA, like tb*
BeilWi right Md BertNaa's mi^9^Q^f1bH^
neriag.iaaallatba Blndar iba b* to *• MP «^
hdbdbiseMdk:—

CBova.

d^aasoaraldai

▼oisIvai^btaaBMM

De« chevaHcrs d' Avenel.
GaoBOSS, avtt emtUtm.

QidaildawaaiifeBiB?

Caaoiu

BalatribBd-AvaML
Osoaoas.
O BMWiens plehis 4e ekamss t —
0* daoe si-Je eatnidB cei air qui, aalgri aoi,
DsBlsyanziidaooaler des larmest

Ota^n^it, sii^pffSNafif ^a£r«
^ihMrtf*! J*^**"* iB^BCStM^atoa

Ck"H''''^. arritant,

AtlBBllni j rir*-' — " je csol:
na,tt»l*>tt>li>l^l^ .

(BsNfnaaal^

•nall.li.li.ll.U. '

mtut, if vfW perfirmcd, have strong
Will our readers accept the iol'-

This, we iLiuk,

efect the stoge.

CirORfR.

Strike, minttrcl, Blnkc. the joj-ous slrinf I
Of lore, and war, •, iifry tn\i',

To straias like tltew let the lianner iwaU,
Wttahfaata Mr the knigbts of AvmhII

Digitized by Google

iisf

THE HABUOMICON.

I'hew scMDd* beloof I

out wbeanAefhrfliatMtoiiMviindw?

Arc they the echoei flf other d»y*—
That that ibe/ c«a»e my hetit lo %hyv,
' Mjr ]Mdw Mkia^ ny tean to ilov ?

CmHWit rept»ti»g M« air.

Gsoitoe.

SUiv ! — R^rtiflmbranM seems to brinj^
• 'riiosc tiiites a£^!un — I think th»t I

C'lMilil carrv on the Bung— I'll try ■
FftLbl/laJn, ia,k,Il.
' fChtekingkimtet/.J

N«l alky ! that !* not it— I m '
T«(^ nmfar I l»w hMud the I
FU.l>l,1e,hi.li.ht

Hilt the most novel, and also hy far ilie most interest-
ing, tiart of this drama is the niuth sc-eno <!(' the sec<:iml
act, ihc finale to it, an auction, in which the t stati; of
Avcnel is put up to sale, contested for by Gaveston and
the farmers of the lands, and ultimately pnrcbased by the
rightful heir, who bidi under the nwM of Geoisea. W«
re^t thM ov Itanli iflwraat wfiNMB (Itrfiig «

me, that M. Gr^try'i propoeal for MMmg the o clef

would be the best means of susoending the use of the
former; but by employing the latter with a meaningf
exactly opposite to that which Grctry pn3j>osed to attach
to it. The term Stu. ull.i, already in use aU>f<' the staff,
is fullj Bufficieat to shew that the notes are intended to
be pbjtd «n «etm higher thra thqr It^i *

doeUeedef fhu

— ,is just as lit to 4

Sib,

ON TBB C, OR TENOR CUSP.
2h At SdUor ^ At B a r m o m c o n

Lmulon, Uh M'lij, M'iB.

Vfoa reading in the Ha&momicon for this month
' letter on «he c def, H eeomed to

press an octa« lower, if it he generellr mderctood to.
harp that meaning*. — Indeed were 1 to Mrdoehte «»^
would not cTerybody understand that I leretTed to O KB

octave below ?

Therefore for the tenor and alio parts I would TCnlore
to suggest the use of the clef r1k)vo written, ^yhich should
indicate that the <; stanHinj; on the line passing through
the body of that < b (. is the not-- iilMive the F clef of
the bass. This would prevent tenors and sopranos
from ever being at a loss to know the part that lu lonas
(0 each ; for certainly it is perplexing to employ the
present o, or treble clef, in cases where the nui ;c is
meant to be sung an octaYC lower than such cU f de-
notes.

Am for altos, I only consider them as high tenors. A
hen fmee is very distinct from a soprano, and a s.<iprnno
fkemateaor; bvttooon end alloa oeinf both iiigh tna/ir .
I seenoieewBwIiyenedier shoddnetiemfiw.

With resped to iBttmneiital iMuic, the t clef will

abvnys be used for bass instrmnents— the c clef for the
violftl-the G clef for all otbers ; bat in piano-fmte play-
in-, till? <lniih!e r; clef would, it appcers to me, be parti-
cularly useful, in enabling the compoier to eiilid ledger

As one of those
ebliged and

and flMwd hf (be HAmvoMicoM, I h«i to aibeoribe aijMir
Y«7«MicBlBtnni^ '

M0ZART8 R«VnSH. .

TiiK followin;; statement by Mr. .\ndrc, music-publisher
at OfTenbucli on the Maine, ba.s repeatedly been pnblish('<l
in the Cferman journals, and a-s it affects a questiuti of
deep interest, we give here a faithful translation of it.

" Having purchased, in the year 1799, the manuscripts
of Mozart from his widow, it is but natural to suppose
that I should bave obtained every information respecting
his Requiem ; and as it hecagse here and there known
that I was actually in postemion of a copy of that work,
in which both Hosart's and Sussmayer's respective
Aeies in the coiewitiwi mre distinct^ marked, I vea
fleqeenajapiliMto, fteandBW VMrtm, paUidyto

give my opinion on that subject. This has , — — .
been the case on a late occasion, when Mr. G. Whher
hns raised anew strong donbto retpepling (be imtfr*

pi imineness of that work.

" 1 huve hitherto always declined enterinpipon this
question, from a regard to Moiart's widovr, who had
communicated to me only in secret, what share in the
compo'iition her husband had, and how much Sii-ssraayer
had added.

" But as Mrs. Constanie Nissen, MoTart's widow, on

• Tbt etMiMMr which our cotfMpaiwieot oiM, •» formed ot two
trpbteeMwercaiMveeeheilMSi watafeeaawaiMor imiiattar
thii.

Digitized by.Google

TBEAAIOKmiCQN.

>dra. W ihi '» MBl M . hM'Mnd M to
iMllw«nNiliHi«tiwt,«Uak, Aiii9i,l|Hi«bktodo

fcfpiUUring Ob I iiliMiri teM Imt ia IWl. I
to inake it kenlgr kBMn^ h ii aqr InlvMiw to

do so forthwith.

" Tdtiflln r with R Iptler from this ladydatcd the gOlhof
January, \i>o\, I rcct ivi-il from her at the same time a
manuscript lupy uf the Hequiem, which bad been com-
pared the Aljbt' Slaiili r • with Jlo/arl's orii;inai
manmeript, tutuppltffi and finished by Slissmayer, and
on which by mean-i dI the letters M. S. all the passages
were marked, thai ciiiier belonged to Mozart or Suss-
ioayer. She sent to me, at the same time, the original
maniiscript as suited by Siissmayer, that I mif^ht
eoMvinoe mjraelfi bj oonnMriac it with the copy contain-
liif the pftmget narked IL wa S., of Mr. Stadler's strict
veracity in
as has aboT*
(mter deat
• "Ilii,t]M;
ku.al.lke

AU this WM done
itioaed, under the mm! of nerecy

Iirifhiiitifcriilif it)
MrieHrVuiiiUeb tbe AbliStadler
•ideil « Sgnrad Un^ wUek J aia
iddair, ameaUy t» the fcwt of

vn tb« point of jaMitWay, agrocabljr
Mn. Niiaen.

**Th« work is to be published by snbscriplion, at my
fliHi J. Andre, Otfenbach on the Maine. Tlie prefucc

•with which it will be accompanied is to shew, that u-kai-
evcr in Ihr ii,:tjmem belongs loMoairl, ii a compotilion beifun
bi'fnri' liir ijr-ar I7S4, duiwhicli tens afXi^nodTds Uiid mide.

" Tlie whole of the dear profits I intended at first for
the benet'lt of the blind sister of the iramorlal composer,
who IS -slill Inins; fit Stilibiiri;, and nsnv in lier 7.")th
year. She is the bame with whom Alozart, «hen in
bis serenth year, in 1746, made his first professional
lour. But as this lady has so oobly declined the offer,
in a letter dated the 31st of last January, the profits
will be solely devoted to the benefit of Moiart* two tons. ' '

Mr.Andi^ condodes his addreai with «n a|)peal to
* "al nwie houses of Kurap«,.to promote tbis
I u far as lays in tbdr power, porlieidviy bj
nibscriptioas. The prioe of toe wwfc to the.
I is to M in Afiai, or time doUi^ra. .

" 1i asHU to bate been dielaled bv the
iOllvei.il signed, <• A|idi6, OABbach
ikafEibnuury, laM."

TBB FrnmULIAIf MUSIC.
To Ac BiOir ttr Harmonico.v.

Sir,

I am a sobceriber to Mr. Vincent Novdlo's admira-
ble, sdeedons from tbe Fitswilliara Manuicripto in tbe
Cambridge Library; and, in common, I beUeve, with
every lover of ancient classical nasic to whom that work
ia knnra, fully concur io tbe tnioe beatowed appa Idf
laham, br tbe reviewer of hia lift vafaaMtin tbaHAB^
■o»icoir far Febraary laatt.

Excellent, however, a* it Ibe node in nUdi Hr.
NoiaUo Jias produced tbe work in qaestisa, and neat
and laolina as may be tba laaM wfieh cnuMt lu ' to
to hi

aocme

may

im thoNftwBi it canU aol bil ba Mt ai a

■ The well known eompoarr, t(H> Ihs giiasd a 4.
feme compotitiuas in what is calMtfaasMot ^Cfll^

t Aw p. IS of Um pisMU velama.

sutler of regret, tbat,' fkioti|,iti poorihr Mtate^ Meb •
work coold bardbr be espeeled to repay bim, in a peenp
aiary point of vieir, Ibr the time, labour, and eapenge
neeessarily oonsumed in pre^ring it for pnblicatiMb
With this conviction on my mnid — a conviction In which'
I am far from being ^iiijular — I rend « it h surprise the
announcement of aui>ther iiuhlic jiliim, ciiinpilcd fmm the
same source, and to be ushered forth under the very same
title, by Mr. Samuel Wksiky. 1 say I read s\ich
aniiuuncement with i-iir| ri^r, bi-m mj 1 hupij<:'tieil to know
that Mr. Nrnellf> hinl Imi^' [>f <-n intini:Ue, the artivc,
the lri* (l (ViLMjil uf ^Ir. \\ '■slr\ ; and — nut dream-
ing that any thing like mercantile rivalry could arise
under the relative circutnstano-s of the parlies, — was at
a loss to understand how Two musical woika of io 00B»
fined a nature could be prodOoed at the saaM tltoe, wiib'
advantage to tbeir respective editors.

Deeming it to be a matter worthy of inquiry, I accord)^
ingly look some pains to solve the (peatioa, and I must
say, that my surprise gave way to % BMldi tlroneer fed-
ing, when 1 learned tbe biatasj of Oa mffc pvjeeted iqr
Mr. Wesley.

It ap|iears that, although the names of tbe agents for
Mr. Morello's wwk, in Oxford and Cambridge, are an-
nounced as the agents also of Mr. AVesley's, the former'
gentleman has no concern whatever with the latter in
his wurk. .All ! it fiirlhcr npj>enrs, that, in addition to
the ol'leri re()t.'ateil ai ts of friciid.'.hip on lhc part uf Mr.
NoTello, he was ihn muse nt Mr. VVuvli v's iiiiroi!\;ction
to the University, and aeiiuieseed in the OVacf by vihicb
lie anjuired llie jxjwer of r j|iyiin; any part of the Fltl-
williain Manuscript!,. Tlial this was done in utter ig-
nunince of the steps intended to be adopted by his cm\-
fidential friend need scarcely be added ; and w helher tbe
production of a rival publication, under such circum«
stances, is.a proeeeding worthy of a lespeclabto nemiiev
of an enlightened profession, is a fgettiqa wbidi 1 arfll
not take upon myself to decide.

I therefore forbear to nukeany comment on this trans-
actioB, but trusting that you will do aw the favoar to
toboiit the IbcU of the case to the ainsioal public,
1 reawin, Mr. Editor,

Year constant reader,

JUDAI.'

*«* The quarter wbente tbe abo«e eouununiMtion ha* nna-
nated entitles it to uur attention, aada* doHaitaa act of equal
justice to b«4fc the geatkoMa whssa aaam are aentiooed— and
bstaasttwbom wawnuU hoUtbs bolsnee «vsn->to giro it in-
iiertion, and to offer our pa{cs ftr aaj sxphuiatioa thiit nagrbo
thought necesiar)-. , , .

FORIISIf MVSICAG PUBUCATTOifS.

Thb g w toi t Bring writer on the KieMe of

(ha faHMW Dr. Chiadni, bas^ puhliabod Mrijiia of «
new work which has canoed a great aa— tiaa aung the
nalnral philosophers of fiemiaaT. ItotMeia:

*• WHmMtrt (Doctrine of Unavltttiont, founded nn Ex-
perimtfUs) by thu Professors Heinricfa and Witbelm

Weber {.f !'cip:tr; titul tiiitle) : Leipzig, \H95."

One (Mirt ul' the work, which Dr. Chiadni has particu-
larly distii)i;uished, is that on the waves, 4 '
of nuids as applied to somid and lighL

Digitized by Google

114

THE HABMUNUXIK

tt.

Of Gebbeh's well-known " DirHLVTary nf .^fuiidant,"
k cootiniiation is advertised as being in progress, under
the ■uperiDtendence of tbe privy-councillor Yon A pell and
tbe BaroD Winzingcrode, both resident at Cassel. A
oonectios of tbe verv nimieraiis errors, vrhich, bjr-the-by,
km been fikithfulhr copied in tbe English and French
faiUtiens, will nnn, next to the loppljing of tlie
aiaoinl f-T*f t* ^i ihn n^wt imMMMOti «f the

III.

The celebrated GorrraiKD Webeb, of Darmsladt,
has announced a new Dictionary of Music, liiiJ'T tfii-
above title, in the compiling of which the greatesl
musical talents of Grermaiiy not unl v have promiaed their
support, but many have already aiUiijtteU him, as he sajra,
with the moat valuable cmlributioos. Amons the latter
be names Dusch, Grosheim, Marx, (the editor of the
Berlin Musical Gaaette,) Riuck, F. Rochlitz, F. Scfanei-
<iar, d X. V. Weber. Chladai, Wendt, and Drieberg,
who '
1I»

Writtai ao learnedly on the music of tbe ancients.
ntoMttaf Mdort ■Mie hM therefim enliiely
0BtiB> IlM^tktlciiniBof Keehhaaboen
•dMtoifiBAfnM wmmmtf m the plan, alill the new
diatiMHyliiHiiniaAlatoa luver, and ia untj le-

ON THE MATTER OF SOUIO),
M u, lananflK, Tiu flauasAiw rauea satcbaus*.

To tK« Editor r>fthe Harmoiticon.

&ir article On the Pru^ress of Sountl, inwrlcd in the last
number of your .rafaiable Journal, reminded me of a Memoir,
interesting in its object, and for the faclt which it detaili.
Havhit: inaiJe au extract of it vrlvcn it trai deJivered, for the g-ni-
tification of luy own eurioiity, I am enabled to communicate tlie
iabatiiDce of it to joi^ and bapa that it majr tog*4C the atten>
tian of SMhef jffur nadm as devote their tboni^hts to qnestioni

«r«yiuni.

That concussion of bodies wbidi takes place at a certnin
distance, product^s upon the orj;an of hearing a sensation
known under the name of notsc or sound'. There can
be no doubt but that this sensatioti ig the result of the
motion or vibration of a material fluid, interposed be-
tween the bodjr OB*^ ^7 ^ eoaeoMiati and the
organ of bearing; which matter is imperoeptible on
account of its extreme tenuity.

Tho imiAle flnid which is to aa the prapv wmSmm
of MNmI 9t moite, most encircle na on cveiy H% UKk
ftm • aavi of the •tmoapbere in whiah m liMk
It wM iaagkied t>ll.M«* thrttWdMWllll^

* gaMMlien italiam UiecoaeimloBofelMtkbodhat k
latcd by a Miitaaf vifantioM of tbna bodiai, of of tknifaitt.

Kni», on the cootrsry. liMlla from lha eaowpaoa af
Ixxlirs : it it the effect of Ma 4t
lefcaied I7 vihnniooii

ka thobaUift

hadaat

poaitivai

the property of t _
of transmitting it ^ough mectntnu and bedim ithkh tk*
air can neither ^untdrate nrr- pass through.

As the liuid matter which transmits noise or sounci has
the property of propagating (mure especially by the
agency of solid me<lium.s) the vibrations prt>du(?«i t)v the
concussion ol boihi s, 11 inu.st m^ccssanlv foUuw, that ita
tenuity or extreme subtilty should enable it to pass easily
throtigh these different iiMediums. Nuw it ii known thA
the air when encloaed in a hog's bladder cannot eso^a^
and that it may be retained at pleantre in all kinda
of vossels ; it does not, therefora, poaaeai tin propertiaa
which evidently bdoiw to tbe actoal natter of aonnd.
Tbe ubaaiialiMi oT tela oblifpea bm to come to iho
Uid or aaiaa is nrapagaled with aa
tAkh ia im • «net latio with tha
«r tattii, ni at the aaw Hm

with the density of the 1
that forms it propagates ita ^

Noise or sound is heard more ttroagljT in a dense, thaa
in a rarelied atmosphere. HcDOB, K a heaid belt^ io
the evening or during the night, thaa ia the day; ia a
wood, than on an open plain ; in the air diflnaed over
surfaces of water, than in that whicli c-overs tracts of dry
lattd. In all these instances, the propagattoa of aoiaeM
sound in the air is always mare slow aad laai faVlrfd
than through other more dense mediums.

It ii proved by different experiments, that sound or
aniaa ii propagated bdow tbe water, that is, in the maaa
of (feia uquM, Boch mora powerfbUy than in tbe air • ;
eten the somrfa tWt pass tbncah the body of air dif-
fiaed over tbe walar are heard, tbongh nora feebly t.

givaa ta aaiaMla that aaiat ia the air aa
■tafTOoadut of aonnd, ia aidar to
thdr aMana af T
nuolthed in powtr ia aniirii
little density; boi hai ^
auditory conduit to naaily tha iriHW m

that live in the water, beraaae, boiaf hi *

more favourable for the props^tira «f noiaa «P aaaadt
they stand in no m-ed of it.

ft the effect of tbe elasticity of the subtle fluid, wbkh
by its vibrations forms noise or sound, goes on increasing
to such a decree as to be able to traverse the densest
mediums, it is that these mediums afford it still moa
solid collateral points of support and repercussion.

It is evident that this effect roust be diminished, pro-
vided the elastic fluid which forms noise or sound tra-
versed only soft and rarefied mediums , «nd that tlua
saBM floid moat be abnoit annihilatrd, when placed ia
an inaalalod aitaatioo, «r fa a vaiaai, lhaagh acted ii|NM
by liw aaneaasiona or vibrationa of aoaornnB bodies.

It ta ao longer matter «f anrpciaa that, by a peraoa
l jtk§ apoB the gwinal, the aeoad of caatl^ thongh at

• It is proved that Doiwt bearl aaJef •>« *> tti»«clftil

asii ■<) teniblo, that,— according to liic juitiaiLnt ,i:f il.' Abbe
Nolln,— o person who Iiad dsKended to iJii.- buttom of j
a divinp-ticll, on attcmptini; (o Mnind a bom, wa« iO «MIMmeV
the Knine WMiiMi prodoocd oa the bi(tt«BMMl, that ha hai

1 1 hadSii cofioutj, mjM the AbM KoUat iLiftM d* Pkifiiqm,
vol. ui. p. 490). u> d««Mid «aaMs4|r to dtflHSB* dspiha ia
wain, audi haari .UtutUj alt Mads aC ttwUt mm Wit tammf
ol Ite bamaa voice.

Digitized by Google

TBB BAUIOKICON.

tbe diitjuicc of twenty leAfities, afaouM be heard. dMch
1m raiiinr himself to listen be thoald iki li^n^rr hear it>

It is tne sftnifi cause which enables a simplij blow n>»«n
with Ibe head of a pin on one exiremity of a lanjc anil
long piece of timber, to be board at tbe other; while iu
the Bir thia mad utM not ht baud at lha diitiee of
three feet.

The echo Uoot only tb© result of a perfect reflection of
~3iifiNi imagined, but it is produced hy a con-
ata gifea point, of tbe dinereut reflectiona or
ns or tbe vibrating natter hj which it is

Hence the «ho ia found at a point which may

be considered as the focus where the different reflections
or reperctissioaa of tbe matter of soimd are concentrated.
Above or below lUa pointt a» aeho en tahs ptaok

If yaa taka jaar iMln maf d U tium wtetevar, in
M af a wdK balh ia • iln^ Hw, the noite yea
make wfll not be retnraed in an wAoto yoar ear, beeuue
tbe repercusaiona of tbe matter of sound, as pat by yon
in a state of ribration, do not meet iu one focus. But if
tbe form of thn wall is that of a curved line, a y^uX
will be Ibuod where tba cweraled noise or sounds
iwMbewaitfadiaaAo.

I rom nil th>^ fads liere s(atp<l, W.
in tbe condusinn, that, besides the common air by
which we are surrounded, there exiats wiibiii tbe mass
of the latter, as in that of all bodies, another invisible
and extremely siditle fluid, which is doubtless the cause
of that elastic power which we obaerve in the air ; and
that it propagates its vibrations through different me-
:tbmu withftfMOi^aidaDiamaitjfWlikkangnater

*,* SeTer«I ini^cniniis writmi, and among' others Heatra.
HsMeorrKtz, Bint, :in<! Chliuini, hare directed their attentian to
|]ie meana of RSi't'rUinini^ the rci^Uinn^ which rxiat between tbe
Telocity of auiuiti in lk« air, ad<! i]\At Mrbich takei phcra in
tolid, liquid, and fxacoiu liodif". But u hitherto theorr an!
practice are found to girt a diffrrtnit reaiilt M to the TelcKitr of
1 eren thron|^ tte mediiui uf tbe air, our knowledge on

I malt b« noridmdas atill

MAHBD iiOft or Mm. lAUonri Tonx.

Sn» tftf JHtttr ^ Af EABXoaietw.

the Mffiaa of your publication
as been widely promulgated,
■ing English singer, W lail
vou€. It {■ at Aia time neither diniinishf<I in power
nor de|tilfed of its aweetnesa, being fortunately restored
to all lU wonted qualities by tbe genial clime of Italy ;
and when she returns to her country, her friends will be
delighted to find that the illiicis was only temporary
which imp aired that organ, which all who baTO once
I b>|* to hMr often again.

1 aitt| ftCiy ^ECy mm

1. Sklect Mbiodies, the wrd» by Hakbt Stok
Van Dyk ; tlw sifmpltonies and aecompanimenU by
J. B. CaAMsa. Vol. I. (Cramer, Addison, and
Bode^ SOI, Xtjfmhilnit.)

8. Songs to RosA,lMflMl»y Ifl^<*>l^^ BatlT,
Esq., Ute ti/inpho$iltt and ttcmpamlmtmU T. A.
B AWLiiies. (GoiddiBg and D*Jlbnaine, Soho'tpiare,')-

SirCH publications as tbe present were 6rst brought iitto-
vogue by tbe stron^^i^tbos and manifold beauties of tbe

acBtiahmelodias nachanM,aaaiMl7lias«nliTatiHr
of Iba bUb aira kpttt^lMte^Bm; lad ^araaiat
these were by the e\^aUl8 ii mMj cad lealiMBalil

poetry of Hoore, con tinned tbraagh a long leriei of

vnhmu's to excite <;tn3n<; interest, and to commiuid a
widely -extended circulation. Time, bowerer,— " what
will not time destroy f" — diminished the aM)elite for
these, and distant countries were resorted to for a new
supply of melody : Russia, Persia, nny Hindustan,
became tributary to our M-ants. Still something fresh
desired, and nearer home, in Spain, Italy, Germany,
and France, search is now made for a few of aneb national
airs as ate not yet beeo m e wrj familiar to our shores.

Of aueh, we are inclined to think Mr. Cramer's volmne
is mainly composed ; but as he baa fbmished no infor-^
nation cooceming it beyond what appears in a scanff
title-page, our bwef rests <Mefly on coaiectare. Thu-
is tbe Ifst Toeal paUiealian io which bis aaaa bag
appealed, aad aa aia ibua of it is priacifal^ ki fkt

a i t WB g recommend atioM of tba boidta

bt works of this natare^ tbe prfaniy object ooght to
be novel and pleasing aadodj: tba ant, good poetir,-
in wbkb only one oassion shoSM ba aOawM to speak m
each song. Yhe aaaptor's task then coaimences, whose
first duly is, after taking care that the music and rerse
Bgre<? in sentiment, to adjust the lenprth of the notes to
the atcent of the syllables ; to pliice the emphatic words
in tbe accented part of tbe bar ; to avoid giving long
notes to explflives; to g\iard Kcnipuloubly against the
intervention of symphonies, or rests of considerable da-
ration, except where a full period appears in the verse
and lastly, to keep continually in mind, that tbe sound is
rather to be sacrificed than tbe sense. How for Mr,
Cramer and Mr. RawUags have coiflied with thcM

first to the former.

The Sbuct MBbomM i
and ooomr flrtj-tl
nized,aiiiritii(*

* TCS»t fa RuiwsiWH'i boMtMM. simple air, -ftVtt
plants *,'* prolonged by a few newIy-OBtUMNd ban ftr
the purpose of repeating tbe original stNUB. Wt ai>
dition faithfully preserves tbe character (rf* tbe air, aad
is an improvement of it. The accompaniment is nafla
and appropriate. The second i.<i more cheerful ; the air
light and melodious, and the symphonies of a brilliant

kwd.

Ibe third, of a grttver cast, is in all respects, eieept
• Priaiad ia ou tM volasM.

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119

THE ttARllONICmC.

MWiOelMat {nflMMl,«eeMdiiif 10 MVtMte: dim it

a depth of feding in it, and • eomqmMUllf btimony,

that will mudi recommend it to ttiMe who adniire ex-
pressive music; but the awiil of th« poetrj has been
tbfoed to jiieki to the measure of ibe notes, ioslead of the

nhnttinf; to MBWt ' W« fatiat «U excellent
■jmpiMnj to tms taielody, and the first part of the air
itwdf, as a favonrmble specimen of the work, nosioallv
considered, and as a proof of what we have' Hlidt Mil
have jrel to add, conoeroiog its aocentiMUioil.

Oracefully.

tti 111 werll'ttir.And deem'd that thiiu wtjrt true ; Hul l!i>.i: art light as air. Oh! thena-dicu!

-t3- .

The fuurth is a well-known waltz, a very pretty me-
lody, but the words are tcK) many fur notes so short ; the
pronunciation of them, consequently, must be hurried in a
manner prejudicial to musioi] effect. Tho fifth ii ap-
parentljr Spanish, an elegant air, with excellent adjuncts.
The nzth, it seems to us, should h.'wc been written in
liz-eiKht time ; for the sake of the words certainly ;
Ibete oeing a gaiety — a philosophical one, we grant —
•bant it. that does not upree well with eight quTen,
peifiHaied *■ lather OomU," in a bar. In Ihe finter
mtutf two mMt§ at Am «Mda <• bont,'* " flow'n,"
Aft, nigbt be avoided, vhieh, m ibn imr nlaiid, drag
onedingly. The a^rentb ia an eir S la naKlaire, and
««M everything todwacomnpuinwattifbidi akiw Mves

it from producing; a very common effect, to say the least
of it. The eighth, ninth, and eleventh, have nothing in
tlieni to arrest attentioa. The tenth is in the Spanish
style again ; so it IhetwelAh, but llw latter ia dagpat'

and expressive.

We cannot think that, even in the present dearth of
melodies, Mr. Cramer has chosen absolutely the bait
that were to be found : but we know by experience how
much time and patient search are required to discover
airs that answer all an adaptor's purposes. The poetry
seems to bara been wiiltaa witboul renrd to Horace's
precept, ftr «• MMpeet Ibat if it bad bMO suflered lo
remain ody nine montht in ^ aiilluK^ jMtfdi^be

woiddhave

auqyallanMiBil. SbhitMiar

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THE HARMONICON.

lyrical, ind aerees weU with the music in sentiment.
The aceent, imefa we have alimded to alxwe, is in to<>
mmj instances saerificed to mnsical habit. If com-
were aware how much this fault ojfends bearers in

1, — what a distaste for nnitic it excites in mmy
jimible people, tbej would pay mora attenlSon to so im-
pwtaat • aolnKl. In the extract befbre given, the most
emphatic worts, *■ fair," ** true," and air," linear in
•Ibe third instead of the first part of the bar. In the suc-
ceeding stanzas we find the same ermt. Hie word
** that," in the same extract, should have been set to a
ehort note in the second, or weakest, part of the bar. A
brief pxrmplification of the correction \w rccninmcnd
will render this more dear, and, we think, convince our

I kn«w ttial thou wcft Mr and

I kn«w that thou WCft Mr '

It nmt be afiknowledged that ao nmnr notes to the ma-
naqfllaUe ** ttb^ aienM deatnUe, though by no means
tmconnon; biilt«l attevMta,tUse*UMMMUeampared
ti> tbe BaattHiria «f Ibe othar. We do not like to dwell
en impemetioilis, thMcCtfCi conclude this part of our
mbject by expressing a wish, that the cightli bar, page
S3, hail commenced with the noun instead of the article ;
and that there had been no rest after the words, " Oh !
Mm thee to," at paga tt» hit that tbqr had boea thus

Oh! tmn .

TbepkaiHwitcr pvtaf oarAity la to declare and to piaiaa
Hn jodidou Banner in which the symphonies and ac-
companiments thronghnut this Tcliinic are composed:
no nit>hty passaf;es, no extraneous nnxlulations, no unnc-

Ccs-arv miles, but all rcndf^rrd siihsfrvitnl (n llir innin
|(oiiit, the raelotly. The work is brouphl r ut great
correctness, and in a handsome form. Tlic useless, and
peiierallv paltry, enijraving which so frequently nccom-
piiiiii s pubiicatiuns of the present kind, i.s htirc discanlcd ;
miicli t» the credit of the Editor, who has shewn his good
sense in selling an eM>IB|le of dcfaitam ftWB SO

filable a custom.

TbS Soiras TO Rosa are ten in number; of these
iajilw i m ng|d M a doet, and three JbaiMwmied^for

work is very n«tly mmmd on'qaarl* filalea, and fiUi
■ixtT-four pages, beaiaai tida. Index, Ite.

The dnt la an asMcnhe air, compounded we are told
ofanEnglidi MidaiiTndianMdody, the former by Bishop.
This is almost the only part of the work against which
we have to allege any charge of false accentuation ; but
the errors here are so evident, that they cannot escape
the commonest observation, though they may with the
grerilest ease b<! corrected, bv a very simple alteration:
and as usefulness is the chief aim of our criticisms, we
«ball take this op|)ortuuity of offering a hint or two to
such of our readers aa are compoaers, on tbe subject of
prosody as connected - " ■

ToLir.

The ioog to which we allnde is made np of law .
fimrltetior '

u — u — u— w —
When first we met. I fnCd on thsO

A< on looie ipirit from above,
IVhow beauty Mem'd too puri^ to be

Profaned by thmieiitii ol'i'.nilily love.
When nobler Crieiids .in.iiiiil llioc mor d.

iriosl pror

How could I il.iro conrc

i;if',s wcri' thins,

.s I lovM ?

Now cuuld I hope to c^dl tbee mine ?

Now as an Iambus consists of « sbert and a long syl-
lable,— or, in other words, of an unaccented and an
accented syllable, as JFhen first, confett — the first half
of the foot should be in tba noaeeented or weak part of
tbe bar ; tbe last half in tbe aooenied or strong part :
for example —

o —

D —

P *.

Whrn firrt.

Or if in triple time,
o —

Cue - ftm, WhoM twaa - ty.

o —

WImo int. Ceo • few. Wkoia beae . • tj.

Hut Mr. Rawlings, falling into a mistake very common
in vocal nusic, has too often placed the first faialf of tbe
dnt fbof, in Ibe aeeeated part of tbe bar ; for inslanoe—

HrhM flnt v# sets

Aft «■

■ ■

tnioM bcaoo I;.

A ad filiPa most.

The remedy for tbi.<< is easy, and may be applied to the
present case by all who have any knowleoge of music
ft is to set the first syllable to a short note at tbe end
of the jmo«lii)i.bar,and to ciT«*loiirnole lotha 1
syllable at tbe begiinning oMbe next Mr,

The air of the second, tbe avowed compositlan of C> 8,
Whitniorc, Eb(j., is fuU of taste and expressioq, and
renmrknbly >yell accompanied. It is also harmonized for
four voices, in iv rery simple manner ; but has hardly

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118

..Jy, the words mil ladiokMdj pit M tt,>«Ml the

icomVaniment perftcUjr In elwracler. Tbe fonrth wr,

Ir. BhjIcv's reniimls m of Weill's " Pria eh'io f im-

nielod

M J... , -

pi-tjno" ; it is very protiv, Hinl must be performed quite as
slow as diret tiHi,' (iili«T'nsp iliere will appear ». y'n9/aiy
ill the rhjlhni quilo uiisuited to the wonls. Wc do not
much like the pointed crotchet at ihn r\v\ r>f thf first
line, and for tht? sate of the sense should prt;fer it thus : —

The ion . tmilr>.

Tbe fifth, a SpnWi air, ia jilMmg, «ad nMket ailer-
wards an agrecaUa dwttfaio.

Number c, a Frencb air, in imiialimi of " ./■• suis
Lindor," is pay, but sonevhat too long for the quality
of iis niiiu riuls : wiiii thf arrangement for four voices,
it Hitually occii|)it's sixi*'<'ii j>af;cs! — ^Thc seventh is a
good German uir, ^troIll;ly iiiarkv ' i' ■ rli\llini, and
very lively i but it e(jmpris<-s siv stanza^, ot |»>i'lr\ , and
is reprinted as ninny iiin(->: llnis twciily bars of njeluly
are spun out into seven pages of music. Tlip eiitlilli. an
"Inoian air," is extremely pathetic, and the nIm 1 1 < L irus
at tlie end of each staiua produces an exocUetit < tTect.
W« find here, howerer, more siiw againrt accent ; but we
orastadd, that the verse is very faulty, and renders cnrrcct
adaptation difficult, if not impractiMblc. The ninth, nu
originnl air bj Mr. Rawling^ it • good melody

English style, selmllianoat pniMworlhjr attcntiuu t..

lof thewon'

the'acGcot^ and to tiM pwinrt of the wordi. Bj the way
ire cannot dirhie tbe meaning fn this of tlie

" ETfrEfrt'cn le^f mi the cniprald rin^."
Th" (cnUi is nn originnl air by 3Ir. Mazzinghi, which
concltuli i dip vuliimc. W'p haTo derived iiuieh jdensun;
from the exauiination of this work ; it cnntnins h f;ri-at
deal that will prove very satisfactory to n al amateurs,
and though it will n -t become popular in any extraor-
dinary degree, yet wo arc much doodft^tfit disappoint
tbe expectation of such as may become possessed of it.
• The copper-plate engraving which is intnxluced is
perfectly vnoeoeaauy, and mekH^jr twalls the publisher's

Xie, who has not Mt aa wiwinble pnoa on hi;;

Before ne take our leave of tbia woib, m beg to inform
the engraver of it, titat vlwi in Ilaliaa be places a grare

accent on the detached e, be converts it into the tliird

I>cr-.oii siiigvlar, indicalivt^ inond, |ires4'ut tense, of the
verb ('fiiTi', to be; tliuiicb Ins inlciition is, clearly
enough, to use it as a coiijuiiclion. Ij't him also, or
8omebo<lY for bim,chan!»e in lutun> thf adjective liqqiero,
into the adverb, Ifi/i/ii-rrtu'riir, wlicn [jreee ied by the

partici|<le an lanle, and indeed on must other occasions ;
for vrc ti ry commonly mean 1» Wiy MgkUf kk
mty seldom, if ever, lijiht.

nised AeM W his, bad imt his name anpeared to thepi.

They are so ncarl y exempt from all tkuse passages of
mere execution, ami two out uf tbe three shew a taste so
superior to that which we have generally seen «xhibite|l
in bis publiealiona, that we mitst hope and lieUeeB th^
be has at laagtb diHowefcd the Ihtilitjr of those oonpoiir
tiooiwbieh hna no olber olQeat ttan to dtt^liyr mawnl
dexterity, and which, even iaOenaan^, eaa aevor baea
sale enough to pay him a moderate pnoe for Ids Ubeav,
after tbe expenses of engraving, paper, and printing aae
defrayed. Wc meet in llwae with some bold, original
nil m1 Illations, will) las!i' niid iVeliiig, \^itfl melody and
brilliancy, but wilh scarcely one ut' lliuse fopperies — lor
$« ^u• inuAt term thorn — which arc only mcaut to convey
a gratid notion of the writer's own ^xiwers, and "liieh no
real lover of music will l itber alteinpt or Uilcrale. They
are all remarkable fir begiiiuing in one key and ending
in another. But this is not mentioned to their praise,
though perhaps tbe flighty, licentions style of the fantasia
may apologise for stKn a departure from rule. The first
opens with lite signature oi two sharps, hut the key ia
not dlieemible till the seventeenth bar, when K appeal!
(0 be 8 nu^or. We have then an ailfgnrin A, a m'Mwe
(Heetboven's subject) in c, followed bv a march in B flat,
and a pnUo in the same key, with which the piece enda.
The second commences with mi aflfectlve allegro in a.
minor, which ushers in Dalayrac's beautiful Savoyard air,
from his Uriuc fxtils Smoyjrdt. Two of the Vienna
vMiIlzes, ill E Hal, which liavc appenred in the II aumo-
Mt:o\, then are inlroducwl ; a brilliant air Inim tl«

Tbb«b OaAWD FAMTaetaa, m Ae amfcrn tkftt, or

tnlUanf Ptt^Pturri m '
. adm!b*d anAan, for the

tnlUanf PatrPturri mjti»vmite tun fnm the most
FlAWO-FoBTE, Campoted by
CnAKiMM CzBaNY. Op. 64. Nos. 1, », and s.

(Welrfi and Hawes, tM, Regent-Oreet)
TaKSc: three Fantasias are so little in M. Caemy's or'

di^jr frtarK Mp» »»«»M4f •V^^ ^ »w

II minor, follov\s, and an u//-

in r

Zauberfli'ile

terminates the Nvliole. The third is the least strikiiij;
of the set: it consists only of an introductory aduijio,
and apopalar air of Blangini, expanded, by an almost
unbmbail MMKesKioii of cantering quavers in triplets, into
eleven pages, most of which, being presto, arc however
soon dispatclied.

Numbers one and two of these we much reeoinmend to
good players : they contain a great deal to admire, ha«B
some noveliy ia tbeai, and will be nsefiil for practice. -

1. DivEBTtMBirro /or At Ft Awo-Fosn. tetll Fai*.
aiion., on ihi air, ** O leave me to i^j snrtow," Clm-
pxfd by Sir John Sterenson, by T. A. RAi»XMrca.

((ioulding and D'.4lmainc, N.A«-^i/nrtr''.)
g. " Oh ! merrily row the bonnie bark," with an Intro*
duction and Variations for t/ie PlAiro-FoKZBi Com-
po!/'d by G. KiALLMABK. {Thesome.)

3. Capriccio, and Air with VariaUont for Ae
Piano-Forte, by M. C WlUOir. <OfUMr and

Co., 801, Regent-street,^

The ialndactioD to the first of tbe uliu>e is thi:

■It of the pabUealion, so far as Mr.RawlingS
Is flMHemed ; for dw air, a very expretsive one, bdangs
(o another ccMttMier, and the variations to it are top
much in (be style of the faBnIle and oppressive annbsr

of variations that have appeared during the last lUf^
long ye^rs, to excite any interest. Bui wc nnst do this
Di>erlimoiilo the justice to say ihat, like other prodae>
tioos of tbe same composer, it contains nothing in ||a
slightest degne ebjeeUonnMe^ cilksv fat <taito or 0o*-

ttruction.

ISo. 2 is really a humble affair we should be glad to
see something by tbe author of U that soars ralber bigbcr,

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rm HARMONICON.

ttiKt w* iB^fhl b« enabled to take a wider sorvay of his
talfnt for com|)o$ition.

. Mr. Wilson's Capriccio would hare been tnore npilv
mmed Inuorluftion, for, being cnmpriBe<) in n |iat;<' unci
one-lbird, it Lan not length enou|;D to untiilc it to the
fbfmer appeHatioii. The «ir, in the rnanner of Haydn,
Is distinctly ch«»«cterii«l and expressive, and the vaVia-
tions, though net more blessed wito oricinality than usual,
are. witb«o «xiBnlian orlwo, nMd: but tut ifiti is not
M tw«l««t>«%IC ttw, as marlMi ; tt It
and tfce qpmn an iriplets.

1. laWMlDOKOm for Ike PlAHO-FoRTK, to tchicli is
added a Selection of Favourite Air-., , I rr, I, .js

rOffrestbe leaont, and propeHy Jiijund, by TuoMAS
ALENTiNE. ^ ^^ cLsh and Hawes, iiM, Rejnd i»wt.)

a. Definition of Time in Music, by tchith on «xad cafctc
ialion of the proportion tf ruttt UUy beartotach otSer
itjmiig attanud.. W mi fy umMM <y W. GftOMfc.
(TheMtlnr, Pim/fiw.)

V.\lf.nti.\e'.s biiok of in.struclions <.i'ems to be the
result of expi'ripnce ; the niatter is well arranged, and
the prc Tppls tk-arly ex|)ri'ssc(l : the lessons are selected
from the most popular airs of the day, and are well
figured ; (be aimulatioiu on each page of these are not
over-numerous, aitd are as brief aa penpieuitT tronld
ailmif. The plan of tblt wtnk li etidtnlly ahrflar to (he
elementary pabBealkn of Mr. Craaar; Wt the first
lessons are ceitaialj naeh mre siinple, and therefore so

iwheUar adapted to .

Tbetitbafllr.Graaw'l work will enable the remler
to anticipate Ibe style of its rontentd. The author is a
wordy personage, and begins his book in the following
language :—

" The performing of music on any instrument (excenl-
i"K such as the biirn l-orf;aii) is the result of u union
of the powers of tlie ituiA anil of rertuin parts of the
body." Vcrv iiiidnninble, ( "rlainly, though rather conii-
enlly expressed: bin as Mr. G. seems from his setting
out to l)e eiianiuurtd of truisms, be might as well have
•tated what parts of the body co-operate with the mind
in mu.sical performance.

Mr. (i. would not have publiohcd, but that he could
ind no book that taught time correctly, " For want of
McA a dedJmiym the punil is •till dooned to toil in
the dafh," lit tolta as. Aftor olfaar tentencn nearly a^.
andito aa tbe laat, the aMher mj*—

*• I ahall now wMiaat further prelensiom proceed to
aabaiit my Dellaitiou of Time to the judgmeiit of the
prolessbn and of the musical world in general." Ac-
cordingly, tlii'i'' iN not uiie >\onl in tbe dHM af Mcb
promised dcliuiliou in ihu as bole book.
. Further ou we learn thai '• I vcry [.sipil wants some
assistiuice in tbe outset, which slxjuld be don* in as
gentle manner as |«)ssibie, or else confusion will be
wcreasfd." This very lurid passage perhapa explains
what Mr. Jones means when, in one ef hti cftaiaoters,
he talks v£dointf a tittle mformatioH.

In these davs of wealth, prida^ and idleness, that
aseftd conunodity, the tbiinble, ia acornAiIlT i»ieeied

M* n Ja^aM. -nil ^ Ulm J-_ ^! 1 K

TuTMniK) do it alternately with both hands." »
the ;iiir n 1,1 ,uid renerable emblem of industry is i«sI<nv
but not to Its primitire use: formerly it guanied the
tender finder from the attacks of the needle; now It
protects it from tbe injnriea of Time. We bmrerer can-
not but figor* to oaraelveii abont ftety animrted girl»,
seated after dlaaeraHNnd OeaMlal feaaid. aaefa amed
with two of the aibofe l i u t r a ai t a la, and baaliu variona
^nw^w JUn-TewrhentpolUMd tailbt^y^LmlM •

Oaa mora quoUlion and we have done " Triplets

three SOUnd, line 8.)
What an admirable s|nf iiuen of tbe hiuiuxiu.-, ! — first, a
triplet is, by the cietiuiiion, a chord: secoudly, thcee
M4ii,<I.s .ire paired. Uuerv , (lid the meaiAMaf tha Iliaft
pariiauieol pair off tbus in lea&bea I

HARP.

. First Dinv /hr Ae Pi.iiro-FMWEaiHt Hakp, ar-
ranged aad eaaiposed by J. Matzinghi. ((iuuldiaf

and Co., Soho-square.)

, Soirees Drninntiques, I'V-c/ air^ fr,tm Italian, Frrneh
and German Operas ami Ballets, arrnn/i'il as Solos
ff>r (li>; Hahp, fru'A iii-ir''>i!i.Kiniiiifnl of I'LUTB, ad
libitum, bi/ the most eelehratrd ron tf o ttn. Bwdt 1*
(Boosey and Co., S8, UoUet-^eet.)

8. AiB, (^Te Bank* and Braes o* bonny Doon," wiOk
variationt for Oie Harp, [and idso for PinnK-furtc in
another erfiVionJ composid fy ii. K. CuALoAKa.
(Maybew and Co., 17, Old Bond-strecl.)

4. Porte-Feuitle de POcet Ugint et atnytamlett pour la
Hahpe, par V. C. MxTSX. N«. 1. (Godding and

Co. Si/lui-ujuiire.)

Thk duef. No. 1, is T'nisielIo's favourite air in La Mali-
nnra. " jV- ? . r j.ii, rcii mi .senln," extended lo nine pages
for each instrunient, by means of what are in point of
fact variations, though' not called so, neilher are ihej
divided by the UMinl double bars. MVc wish that the «im«
pie air had fir>t been given in a siinple manner, dtreslad
of all tbe tumn, shakes, and appeggtolUfM by which it it
now so loaded: alterwards the adapter might knt
pleased bis own ftncj, br addtee any decorations that
his taste suggested ; Imt tfia heaatNhl meMy should Rrrt
have had a fair hearing, in Ms own language. Mr. M«z-
zinebi has a fiopular manner of arranging these ihii^gs,
andliaa not been less successful ihnn usual in ike present
instance, with the exception mentioned. The price, too,
is leas unraaMHnUa tlmn that af aaaM ^kiali iMve to

follow.

'I'hc firs! number of ibe S'irics drttmolujMcs contains
selec lioin trom IJoieldieu's opera, La Lforne Ulmnche,
well arranged by M. Uuchia. Four of the pieces arei
here publiyhed, — the Chorus of Highlandeta ; liiesoHgg
to which in our la.<it number we have given the woaaif
beginning, " The bloom beams rich upon the orange-
tree"; a dnet, and n chorus, founded on the Scotish air,
" Robin Adair." The lattar we did not print, beioa
aware that, though a novelly to the Parisians, and
whereby lhay an aeligbi«d,it oaa loa woaBtly baeii auag,
piped, eddied,, whktbd, dfnauaad and lannofflted to
daaik Jnikii cOHiiy. t» bmJBtAa^ jt»t at

- 8 «

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190

THB KABMONICOBr.

Hera aie tUrteea pacM lor
liMriii fives eighteen for the aame money.

Mr. Chaloner Eives u aoeodole, in an inlroduetorj
fnge to tb« air No. <. tnm Ibe life of Barns, wUeh is
vorlh refirintinf , beenue not only euriow, tat rdating
immediately to tbe mdody before ui.

"Mmjt jreaniincc, Mr.Milfer (writer, of EdiBlrar|:li) es>
pwMcd to Mr. Clurke nn Mtet nmbitiun tobtaUetocoropote
a Beodib ab-. Mr. C. told bin to keep to die blade key of
tbe buiMlcboid, to preterre titmt kind of rWthm. ami he would
lafallib ij compote one. In a few dnvt ^Ir. M. prodneed the
tudimenlii uf a mdody, whicli Mr. C. (aihiuiicd into tbe tune in
quriilrun."

The air it amnged with taste, and the variations are
|ileatii^« iboirt, and by no means diflkolt. In lb«
iHlNdBetoi^- page. alludiKl to before, Mr. C shews, by
Mimiii of a simple, ingenious diaf^ram, the ^identity oi
the hm, o flat and r tbarpw" This identity, however, be
should have added, Is eonaned to keyed inatniroents.

No. A is made up of two Scotiah airs, sunt; in the
pasticcio, or o[)cra, of Matvina, lately brou^ht out at
jJriirv Ijiiii-' Theatre. W'c woii!<i observe of this opera,
en piisiuit, that to the old airs thus intmducpd, new
wortls — of course very inferior to the original ones —
aro addfd, and thus ihry an- printed, many persons sup-
posing thcni original proJuctions. Mr. Meyer has
arranged these in an casv, expressive manner for the
harp, and enlarged them by a Kw appropriate additions.
But three shUUnga for seven pans « adapled omsie is
•nythiHlMt*^' . " r

VIOLONCELLO.
Capriccios and Exkbcuss >br lh« YioLoKCBtio,

CompjW % RonERT LiNDLBT. Op. 15. (CtoUMT

and Co., «oi, Regenl-ttreet.)

England boasts of having given birth to, and at this
mOBMnt of possessing, the finest n<>rformer on the vio-
Imoriloin Europe. The author of the present publication
kls n» rival ; a work tlimfore, in its nature didactic,
fiom andt a source, canwt bat be UgUy aoccptable to
fgfa t sse w an tba iaamnnent ta whieh it is dedicated,
and HMMt ns e ss wi ilT eantey a vast deal of uaetbl pnu>
tieal fnatraethin. Wa ha»a hen twelve pieces, nearly
all of them in twu moveaenls<— one slow and one quick —
and of two pages each ; fingered in every duublful pas-
sage, and calcmated for a superior (!luss of players, who
may now obtain, at a moderate e.\i)<-n.sc, tlu^ fruits of
Mr. Lindlcy's experience, carefully t(jllc< tcJ iiiul ubiy
digested.

The following .Adagio \vc havu .slIi c lod as a spotiiucn
(if llie ^^./rL,llml nnl_> ni^rcl thatiyiir space wiilnutallow us
to offer other prooU ol the merit ot this useful publication.

VOCAL

1. SoKO, <• Softly, softly blow, ye taaem," Atfoeby Jy
H. IQrka White, ooHuomi hy Wh. HwatUT, JHW.
Bar. OxoH. (J. H. CaUeott, at, Qreat Maribenu^.

ttneL)

a. SCBHS, '*Tbe Last Han," as nmg by Mr. Phillips ; ike
bg TboaMM Campbell. £sqn muUe by Wh.

«. Fair one, tale Ibis nse," Ms «Mrdl»ft«u((ifMi /ram
the Perdan, eompoied Ay Mlia. Mtuca (formerly of

Bath). (Goulding and Co , S-ohri-iquare^

4. Song, " Young I.otc stole a rose," compaied far
Madame Vcflrii; llic tcords by J. IL Bradfield ; Me
miuic by Augustus Metes. (Cranwr and Cau»
Ml, AgmMlmi)

5. SoNO, '* Tba Haid of Devon/' wiUtn hg Barna. and
coptpmd by Jonw Bark btt. (Fdne and HopUna*

09, Cornhitl.)

0. Cahzokst, ttmg by Mitt OmdaU, camjKtted bf
John BAmnnr. f>^iUi<IMiyl4esHie.^

7. CANZoinT, "The T.nvor to bis Mistress," the teordt
Thomas Campbell, Ksq., the musie by JoBSr
R.XETT. (Boosey and Co,, as, HoUet-slrcpl.)

s. Camzomet, "Withdraw not yet those lips and
flageia,* anlRton, eosqMffii^ mrf paaff lAcri iy lAe saasa.

9. Cakzonktta, La Partraza, foeby by Meiaslasio,

composed hy Pio ClANCBBTTlMI. (WiUis and Co.,

55, S/. James'i-ilrei't ')

10. The Pleasures of Benevolence, the poetry by — Maun-
der, Esq., set to music by PlO ClAVCSXTniri. (Pn6-

lifJicd by the same.)

'I'lii; strong feeling which pervades the whole of Mr.
llorslev's song shews, that, in reading the poetry, he
pliueil himself in tbe iitualiou of the author, and ex-
prcsM'<l it as he would h«vc done, s,o far as relates to
liciitimeat and accent. The air breathes the same me-
lancholy that prevails in the verse, and though we
cannot say that it displavs any original feature, yet it is
true to tbe tense, agreeable to tbe ear, and supported bj
a waU itndie4i batnotevcr'Joaded, acconifanMnant.

Hai

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HABMDNICON;

191

it WM « bdl ■l — l ll l» Mt Ife iM UOM of

Pipphrn, tar tbey om hardly be OHuideied as cast in a
Mnl aoaM. Mr. CalleoU hat. bowerer, adopted the
nRbt method, and rather dedaimed than sung tlicm.
Thit Kene, vrhich shews vigour nf imagiiiiition — will
Uwrelbre depend on its fiiiinciftiion and fic<x;(jiii|Miniinciit,
more than on its melody, \vliicli is nccohsarilv i>f u
confined nature; for the (•nnip<iScT has studied ralher (u
please the few who aJmire «hnt is intf llectual, than the
multitude whose taite is liriii(r'<l Id tho and airy in

music The opening symphonv is new ; we could almost
finii!j|]mtitdaMithed«ttate«faDlil«ae. •

Uw Mil %3r lin. Milds is quite the reverse of the
iovmr, UM tmsU to the cbarnu of » melody in th

land style. The voids are ivdr set. the
] is dnraderiatici end the whoU u very

lleuhig,

No. 4 is extremely lively, and when sun^ by so fasci-
. Bating « performer as Madame Yeslris, will, no doubt,
produce a very agreealilo result.

The Hh and «th of these, we prciiuiuc the composer
dos-scs aniun);sl his ha'^nlclles : they tn TCBMrltaUe in
no way, ih()u;;li not dispk-nsing.

\ i. 7 i ; more clHlwrnte than either of (In- former, and
has a good passage, at the wonls. " ho siiroly bleysrd (hat
day;" but wc cannot |)crciMVi> thi!!^.' in it that
entitles it (n further prnise. Thv sixth har from the end
is thnronghly disaprreablp, and not t<i bt- justified by anv
law of harmony. This sann' observation will apply to
the aeventh bar, page 2, of the elghtik ef these vocal

Eleces; and if the whole of the accompaniment had
ecn more simple, more efllect would have been
4«oed. Mr. Btmett is too fond of pewetfU
whMi hedoM Ml always manage whh addnaa.

Tfaara ia nbm |aod Italian aidody in the two compo-
Mu m Mr. CfamliettlQi ; great oorrectnesn in all that
eenoems the aoeompanimeni, and a praiseworthy at-
ttatioa to aeeent, which in the Knglish song is parii-
ij deservinr of notice, Mr, C. Ix'inir a foreigner,
IDCNigh well acquainted with our luiii^uage, not
to have a [KTlectly familiar kuowledgc of its
Its. But both ibsse fseoea are too king, oue con>

pro-

fahriBg six, and the other eight pages, men vocal
music runs to this extent it requires qualities that are, in
truth, somewhat rare, to render it iHipular, and to keep
the hearer's a!;fiiti,in in a stale nf arlivil>- TfiOiC
quAlities wedo r:i,l find in niucU vigour in the pn-sent publi*
i..iiiims: if tlicy (.luld appear in an abridged form, th^
would have a better chance of general circulaliou.

fottifpn 0imUti 3aepoit

NAPI.KS.

Ow OCCasiuu uf .M;ii].\n>c FiKlcrV unllljuj^ ijiir l itv, nii .irirhiunc*-
inent appciinil lisrc IVouj (lie ilircrti.r nf tliiMlrc, lo IhS
fulluvrin; effect: I'liat tliit siu^cr had given ^ignor Harbaja to
uDderstand that he uiglit reckoa apea her tcn iccs from the
lime of her quitting Vienna to the leaioa of ISiC. Relying ea
thb assurance, be Itad engaged Si^ora Lelande lor f*e jrcai^
isadsf from that pariad. But when it was tumoand tbal
Fodar had sseial^ eoachded an eagagsmsnt wHfc the
:er of the Pluilfaa nsatre, Signor Barbaja lucceedsd
iBabtaiaiDgfriimlieraMrtollsnea, upon which, in »pite uf the
dtfcate itate uf lii^ iicilth, he undertook a jourocf to Vati*, xtid'
obtained from the (iirtctimi a letter authorizini^ her to remain
In Naples till tin- end nf \,.rember. But regnrdlcss of the
favour Hiid intention which our public had (o often shown, and'
of all the pxiua and expenie to which Signor Bnrbaja bad put
htmiel4 abe would aut content to remain here during the period
in quMl|a%aaddspBrtcU from Naples three months earlier than
thars was wtj asesssitj for bar duiag- The sabsetuent dia-
palss wUdk took pfaics^ Isrowibitsly aa Isr atiival at Fsiii^
wHhMadMM PMa, showed that tte eljast ef all Hhs hasM
was Oat she might not bo aatidpated inhsr Ibvouifte ptit of
SemiramiJe. Thii at once set the pens of our jiiurnii!;sts
in motion, and the foniverly-idulized Pudur w*« now conjp.irid,
— there M.is inm li ;;ri«-« or digoity io tlie riiui|i.iris,)n, —
to n !i.inil-i.rf,';iii uliitli tiuinded ntarreltuuely {organrlto che
lU'-jtia \l uprndrmrnlf), hut which poBsciM^I neither ta«te nor
personal dignity ; that her intonation vrns faulty, that she had
luany haidl toatt ia her voice {note ttrliltnti), that «lie had aa.'
shake, and no Meiia di MWt and that aa a pi
tragiea, she could never expect t» liieUKhcr thaa the i
ramtU^fuimpt aok higher thsa Urn fat sctef Oteibb In.

After the dapaitare of the FMkwt S^aara Tad
her in her character in Pacini's Amaxttim, in which she ob-
tained the must brilliant surremi, and several poems were com.
posed and circulated in her pniisc. The Giornale (Idle ilue
•Vi'ci/i'f lias the follortinL' n-ni.irl;*; "In spile uf all the splen-
dour tlirnsvn into llii^ opera hy the talents uf Mad.iiii'^ FcHlor,
it never ohtaimd more than a moderate receptiuu, and the
ciicmiei uf Pacini were Induslriuua in circulating nn insinuattoa
that the niglit of Si^tiora T>Mi'« reprrscntatiun of this character
would be the U»t of it* nppoarance." But the sequel showed
the falsebood of this pmf nasticatiaa^ fcr it was givea a Bumbsr
f nights in succesdon.

On occaBion of the birthday of the King, a new Farsa> Gt

Ilnlicirgt ImHaui, was performed ; at Icait the poem was new,

I nd.iplctl to the music i f one uf Carafa n former proiJuctions.
The whole if *aid tu li.n r [irn lm .^d but very little efTci t. After
thii wan given a new npera by Pacini, pulilled /. ('! imr> Oiorno
di Pmftii, which obtained a highly-farourahle receptiga. Ac*

Digiiizoa by vj».X)^Ic

9IIB aAiiaioanc0if.

tm in the pmrai laiiwiM t»nAMa4 MwlMtaf tnify\miMe
mi vurlhjr of Mi Imoiro r«pat«tlos. Tlw IWfl lw in fatdl of

Pomfwii and VcsuviuH may prntaWy have pivpn Ihlj ofwr» snd
its iuWjrct ;» li^-iil interrst, which it wtiiilJ nut piwsess in miuthir
Hituatiim an<l mulrr "llicr rirniiiiNtai)i e«. Tiir isriMiery iit mid
to he magnificriit an<J iiiip<>«in? in tin? exlftiii", ami r<'pr('«('iiti'<l
CorrKtly nftrr nature.

Tetiiro Xuoro. — Sif^nur Raimoniir* new oprra huif.i, // MoHo
in Apyarenza, atiU conliauet to be k ravuuriti> hire ; it i« full
•f cka^aiaK ■itfaiiei aad eSttAn Mcoet. We hare tlio been
tHil<d with > Mv open rrom the pea of that pronuin; f "unip
■wapni; BigMT Garis Talatfid, of Lnnu It k miMmi
X'O^Mlh4rOJii«imi. AoMidtif to fte Mdiik ■ waoUf
Jawrnal of this place, ureral piece* of tbit opera were received
witt entbunMtie «pptaa$e, and it particolarlr «pedArt the
inlriKlurliun, » duet in thr firitart, the finiiN- <if Hn- m i mid, and
K duet in the third ; it in B:)id that these ciiiiip'isttionn arc
marked by f^rcat beauty .'\nd orig^innlity, :iriil that this yirin:;
compuur displnya the laudable amhitiim uf uritii^ and tbinliin;
tvt bipwelf, uninfluenced by fashiun ur riittom, Ihiiie tfianieal
ntnubni apon the free dotaain of the fioe arte.

OiirepinlmbttBimftlByhrif pnlUe inwmltjr, fiir webare
towHioeMe KthM aetrepen, fnimdb pen of Kr***I'<'V
■icet. > pn|dl «f (Nir Comervatory of If uilc. It la enHtled
jBailiHO, and founded on the wcll-knflvn story frnm that inex-
kaiutiblc fuod for the dr«uiatic writer, tlie Arabian XighW

Mir.w.

Teutm CanMana. — W't: aDn nnnTd in imr h'lt lh.it i^ijjiinr
C»rM\;\.'* ncv <\\itt*, Cli AviH til ■irirri, Mils tolfrably well /e-
ceircd; bat it had not poxrer nulSticnt In kerp its ground, and
iTas quietly cuusij^cd to the shelf, af^cr thp fcturlh re;irc«f iitatlnn.
. It waa rcflaced by the Eiita e CfaiMha of Mercadante ;
Oee fidlmred Um CnMfwifallB of Seidiil, nUdi almjra plaant
Iteliant by Ua Iwamir. After ttla we lad tte MtMmMtio
Srgrrft of Cimaroaa. tlie mwrie of wliieh fs ever limli and
inapirinir. Tlie difficulty was then tn cater for a puhlic who
•re ever thinstinif for nuvclty. and, »c arc surry to be nhli^edto
remark, tno fmul nl' lijlit r.nnl In be able to dis:cEt nlinicnli •>( :i
more suliJ nature. WKit u.is t.> Ijcdoiic? TUc Zinyari in
Firra «a» nut fuutid ».iita!ile In the la»te of the present ^oUIimi
af;e of niuiiie, and the 6'ti;;a Lailra wai put into rebeartal,
but i^iven uji, from the inefficiency uf the companj ludottjuttice.
Pfeer'a Caaijfie wai nut to be riticed ; what lUnk jrou Hiim vaa
giren ?— The iVoeze if* Figtn of Moaait, iHdcb olitalaad a
most rariHirable ree^ptlon, and aoBW ef tte pieeea were reiy
rapturuiuly applauded. The cbancten were cattaa follows:
the Count Alanarita by ^ tenor, Bonuldl— rc^pei-t.ible : Figaro
by Plo Buticelll— aoae ef tbe best: the Cou:ite>» by S;i,'nora
Dcmeri — a Imly with a charming vnire, but d'-tN i.-!!'. m ^ inn c :
Suiianiia by Sisnon Partamnirni — a p.w<l H^trl•^^ and re^pnrt-
able »inger; the Page hy Sl^nura Fontemaf,'Si (a teeomta
lionnaji the other character* n-ere all by very «econd>rale pcr-
fgeinen. Six pieeesof ttii< opera were omitted, but, aauiual^the
Jwianry bead vaa ntaiaed, and Oues tnuahonea wen kept
Mtitrdr at wnifc; uqr amc the IkTeafile praetiee of barhif a
band en the itafe »n aol fbiegoae even in an opera of Moaart,
■ad the happy moaWBt aeleettd br tbii pur|)<><ie wa« in the
Spanish march in the iccimd act. Upon the wluJe. the onbes-
traiaendent Ihb teaion, and performed the ovci tun", the ttrrltn,
•adflaalc of t'p- firvt ru t, .15 well ns the many bra.itii's .,f tSie
•ioiad, with great power and corrcclneu. Sercral of the more-

•hiKcra, who, aoNM4^«i aaaai ta ea«idee it aa me of iMr
priTitere* to aet ia Uampeol JaM aa ftijr Ihiah preper, aat:
it/^Mrtunatel/ their iafaeaea hia ban aMaaad to hrri— o

iiuini|M,t<^'iii. there b no remedjr fur the evQ. In (he preaent
in«lanc e, tbe spirited and exfirmsiTp soni^ of thf Pape lunf
in ton »lou a time, and thus limthjilf itn brantv ; and thi* fault
wu» rendered still ii)^>rr peneplihie !.^ tin- 1 jili-r uf the .irrhestra
jivinij the rifHrnclIn in the true time. Itefidri thii, the lady
could not n frAiii from I'oittine^ in Home of Iter would-be arna>
ments and ruuUdea, offeaairc a« they were to ererj cnltivnled CV.
yft were happy to boar aeveral of the ItalUnt, fond ■« they an
ef theee oraaaHat%«xpr«ia their dbapprobatiaa of tbe preaent
ioilaBaeof bad taito very audibly; altboafh thetoteaaa party
ia (he Ikaat of the pkb who feit determined to let the world knew
the hadoeai «f their tatte br applModinf wtj freih exertien of
the lungs at the expense of taste and truth. Pnur Mozart, Imiw
melancholy tu nee thy ilivine eu-npositioni txeatcJ thui ! In tho
wipiel, it fared »till worw; with the present opera, for on ai i nunl
of the frcqent indi^>p<>«Hion of Sifnura Domeri, the partol the
('uunteH5 n-a> nbliired to be peffttaMd hj tlttaeeeada dinuMk
who BMde and wmic of it.

A my npnhoMible pMetieOi whhft b now beeoorfi^ tea
foaenVaad ealb loudly fiw the fepiafaeailM of all the Inw
l ee e w ef tratt and i aai h loa oy , baa elan heea a d a p te d b aia \ wa
mean t!ut of cuttinj^ openu in twu, and givini; tiie half
of one, and the half of the other the lame evening. Thai we
have had here tlie lirst i\c- <.f I' ^rnro, followed by the first of the
CenrrenttAa, and at anuilipr by the »«cond atl of Pacini'*
(iiorrntii di Enriro Nothini^ cm more clearly »li'ivr tbe

pre»«ut degradation uf tlie art than such abominable niivtnrea J
and yet it waa no amaU cumolatiuu in the inidtt of such evils to
wiiaeai the eathadaoai irith which nuch ef the muiic of Moaart
waa leeeiTed aadei^eyed here.

la a hlenuBibernrthe II«Iofn(« Jenmldl Tt^ri,4ttl,
KIterafiiM, lee.,whkhby the way, hManchdinihiiihedtnlatemt
of late, at Icaat ai far h muaic i< caacernod* we read with freat
pleasure the following' remarks, whieh ennte in the Rhape nf a
letter: " Ynu nish mo t.^ _']m i s i :ii v -i ■ 'iiiienfs rwpeetinr the
.Voire tli Fifftro ol tiie iiuii'.nrtal Alnitit. Thin is nn easy
t.i-U fur Hiir' vf\ut i(i nil prtilound coririoi^.Lvir tif in.i^i' , but it voii
vtiil \if saiitiicd with '.he retn.irk* of a p>ain m.tn, »iio niaket no
jiri'teiire save totuund cummon sense, they are ;a your cotmuand.
On Saturday la*t> I went to bear tliis opont, which has not been
performed for tome yeara here. ThMijfh written so far bark an
the year im [tUa k a nirtake, it obodd ban baea irsj], it la
atitt board inOt deBifht 188S ; for notaHtbataadinr the great
tHference of t%>le lhalprevaili at the present time ami the period
above named, it roniM upon ns with all tbe frnhness of non-lry :
biit it must be so : uatare .^iiJ triiili n'r rK]ir'-.4ioii an' i-I'Tii.i!.
The Mnse of the words i> reii i.-i'-l niili 0.[- lt.- itol .-pirit aMil
correctnrsn ; tlie linixli d' .lil t.n- [h i i-j |icr.ijcl, .-m l the
cadoncea admirably iu uniw>n lUi tbe teu»r ami character ut Use
jNueiooa expreescd. It is tnie, ve do not n>e«t with aMf ef ttaia
iiewUay oadoaeoe (to* mhtt tmlm:*), whieh ate noar aa.
luihappl^ u vofaik bat ira ba»a that which i* of much mora
value, taoliwpoAoo,aadMh. la a waad, Ihie opera b ae f ea ad
a very fawMnble neeptfaa hen ; It h Mil OMlly ia aeonAHtaB>
wMk the Italian musical feeliai.'s of the prooeBt day, but ila
value b more and more recognised at esery npooacntati«n« aaA
the Italian car becomes more and more educatody ••aatoba.allfc
to enjoy these mightier effirrt* of the art."

A new <i]>"ra pn«lii'"oi] here I'nim the pen of Siifnor

VacGiy, en Uw old •object uf Rpmgo e GimUttUt, wMak una b»-

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THE HARMONICON.

18S

funi wHk fnat ifplaiiie. Jt b to be rr^tUii th*t this
ampoMr, vlw appear* to powei* tho matrrirl ami power*

jjii ffwii|,.t ithnnl nf liii rnm. rhmlil ''r r— it-"-* •

t»lh*lMM«f «lM dajrinltiwbfeManorilM wnsen. The
fhiM>BMtioned opera, vithnul mMag mj ptttondoB to boiiIi
muhy of ideM, or anything vn'r exqniiila in dw fawtni*
pMrtatiaa. m (iist4ii|;iiisbe«l br ^n^iit beautf and richncM df
BwMy. The second art, in particubr, in rtwrked by naineroiu
pieces of ^eat dramnlic effect, nml $u»t»iti*<l nith much e:ise
and force of expre»jt<>n. Tiic pari nf Romeo was jii-cn wifli
freat fcclinfr bjr « loprano, new to this [»l;ii r>. nf tlie name of
Adele Cetari, whiMC blng-ini; much tuore effective than that
of the Glulietta (Si|;nura Deineri), and thcMftn ttcj dirided
Dm ipfhl** of the public. Unluelcily there vm no lituation
in MM opani which would alkw the band to be marched on
ik» Ma§t. MmdiHf to oiodeni ciiqiiette^ bwtall was dane that
It w» poaiUih wider etmiutoiMaa to 4a, Mid om fortanate
Bttfe BiaaMKt waa fiiimd for bitegfa« it bakind Oa aocDc^,
where it wa$ rery Tif^oruai for lAioe minulea.

Ttatm alta Scala. — 'I'liii liirutn' li.ii a very full company,
but few indirtdiialH wliii>e iiainc^ i<taiiil very pruiiitnent.
H'e have lbre« Fri ru h jiriitir d'^inn', MIli s. Fairlic, Dctiu'ri,
and ScniphUic G*i, the latter a very mcJiocre Kinder ; besides
tbaM we have Sii;»ora Carolina Iliusi, a soprano who perfuriuH
in nen't charactem, ami thuuj^h no long:er yuunj;, i« a very able
ringer ; CaruUaa Fraochiai. who is announced ai altra prima
iImmmj Imars Glawdiw Bonaidi and Gioranni Verpr: (he
ieiaKrbMaTaleaaraiKliBnaiad pawar. that H la qpdtelost in
tte JSenlot and the Utter appaac* to be no lonper anjr fteat
Ikraiulte of the public : bati evntonli, Rainero iUmorini, who
ii latclv retnnici] rn'in .m rri^^c-cment at your theatre, a fine,
daart noiioruus vmci', Imta li.tii .iriicol.-ition ; I'io Uotkelli and
Iriligi Biondini, siiisers of the sciond rate, and the hujjh
wmieo Andrea Uartolucci : this singer is ftlto|^ther unGtte<i fur
the Scala, but niiirht do verj' well in a iBialler theatre. —

On the feaat of St. Stephen was fitrtn • new open by Signor
8>pienta> enlilled Gaiss«(re. As a whole, this opera is weak,
iMt It eaolrina aone tU^ga of » pkaaiof chaiaeto^ and which
beifaak annrieian of an dqnntndnd.

This w,i!' tune, and took
the liljiTtv of (M rJiiriiiiiii; .i i|ui. k; .iiiii .uirii,it. il iiiuvenient in slow
titue ; Lfut liii-* \* om* nf •.in' iiin-it iiliM^-iii^'" ii'.nr^ ijftlir oji('r;i,
the puLiiic had the g'lMxl Jiidgiiieut to exprej* thrir di»a|iprubiitii.iii
of this but too preraknt practice, in a decided manner. U'lia^
tended alio to aiaka this appear more glaring was the re-
MUeclton of the ehaalaw correct, and yet epiiitcd manner in
wMdi Slgnoni (banpamw lUled the chanaUr aooH lev yean
rinee. FartteeiaMiM«baea«lnte4 thaapendidBetpreduee
lha aaaa aiaet u famai^. Wa aapeet ehoft^ the line— rte
^ Wlrter, and Am far^hmed Oeefate af Hiywrteer.

riiORBMce.

Train, I'rrijola. — TilH Margnrihx il'.lnjou uf MeierhfiT w»«
pruduoul Ixre for ttic firbt tluic, liut did nut meet ii itii a very
want reception. We attribute tliis m a |rr>-at uicature to the
lediufrity uf the sing^ers, fur the opera abounds with many
jlaaaiuK melodies, and several effecUre Mtualions. After this
jtMua 8%MNr Cailia apeiib Im StuUa r^fUa, «hU plaaaad

, ftalwCncoeiero.— Hie piece parBw— d Imi» wis Lm C*m»
jMleb* The part of Oandiai waa edm'niMy gkyi hjr eMaf

Sanibrcllint. The character of l)iui Hamini «-a» |ifrl<irrii'il with
IfliS effect by a tenor of the name of Francesco Uei;oli, ulio
is eaM to only in his twentieth year, but wliu displays a
degiat af science not often attaioed at a much tnurc u>a-
tan-age. Speaiting cf tlMee two iiBgaee. aoa of onr Jouruile
Aaiaateriaee the fanner ae pai eee el n g ** una Tuee beCa, paitata,
onMgenea. (riegheToliMtniw ibHe"— and the other as irlfted
with an or|;an " rrescblidma, aefititrima, di mezio carattire, ma
ji'K'a anima." W'here an art n cultivated with ardour and
enthusiaim, there will be created a variety nf terms which
it will be nhnost inipossible to trauslatt- intu the l;iiii.'ii^<i;<^ a
country where that art is not to generaiijr practised this
rfweraatjennwyapplytothaapMieiatofpaetiaa.

GINOA.

TeatnSKuJgMtMO.'-VmtiutaUij w» can tUa aeem
);ratulate tmraelree «n n my dietira apem, eliMtiea not

leu in an excellent and wcU-ehosen company at artists, than ia
the < lioice of the perf irtnancea. Indeed, we feel no hesita-
tiirii 111 savin;;, tliiit ili'Tc iv i;t present no city in Italy
wliicii can li^iubt <>t' so adiiiinilili- an appointment, ns that fur
which we sUtiiu iinkblrd to the unwearied ical ai.l riilifiiUin-J
taste (if "iir Iiiniii ^arlo. lu \'ciiiee, Men'ivlaiite'ii new opera
L' Eniilf, ;liuui,^Ii Mippiirted by Muuibclli, L<irenzani, and tiw
tenor Donzelli, made so decided a fituco, that it was one single-
duet alone, sung by lioreniani and MombcUi, that saved it from
utter raia. Tho fitte that airaited the toH^reeuio nf the Sealf
at MUan was etiB move mehmebaly. After Oe dead GtHnra
of the new opera, on which he built his hopes, be was oblif ed, in
order to fain time, to jfire the MaomMo of Winter ; and that
resource fiiiliriif, rrcnnrM! was ab»oI.i;i "y nMii,'eil tn he had
to i iiincdy, vrli'i iv.is iicressitated to ? i,i|ily the a!t«i m e of her
iliii'imii'i'nte sister, iu onler to .nllnw- tiiiic I'ur getting; up a new
opera. With us, as already mentioned, tlie rase liai been quite
the re Terse . The elraiee of operas has been excellent, and
complete enecoH hae crowned the effoeta of the management.
The reotafdie ed /mKim of MoriaecU wne tho opera witk
which A* eeainn opened, and it had a nu af aannl nighta.
We should not fetcel to mention, it baa noderguoe a aerimia
revition under the Iiands uf the composer; parts which the
rritii't prouiiuneed to bo weak liave been strenj;thenL'd, new
uicloilieit introduced, aad the aeeaapaaiaiato tlinHglioat ct>

toiifhcd with effei-t.*

Tii;s i>pcri i* tii be fuUowcd by tlic cdc'jnitcil Ci uciril'/ of
Meyerbeer. Vuii will be able to judge of the effectiveness uf
our company, when you hear tlmt we bad for our tenor a
Crirelli, for our munee a Piaarow, and tha Signora .Melas
for our pn'sM doMtn. 31ie ink theogfc aoar hi nearly his
0OUi year, itill poaNHoe » mat elaai^aaunwiMd heMHifid
bfeaat-Toke; it is an^ is tha uuM l h (hit aantlpaalljr
the touch «f time le Tbihle ; and lhaugli bit acting is somewhat
defectire, yet in the TMbaUo he itill maintains that position
in tlic iiri uhii-li he hait so kuig lieM with liumiur, and D0thin|f can
be mure iinprOJksive than the ciTect |<ruduccd by biiu in the
n-ranil rondo in llie •ciut.^l act. Willi respect to the Fitaruni.
one u( our Juuroals exprcwes itself in Ibe fulhniting' tcntw : —
"La Pisaraoi, quest' unica riproduttrice ed ervde privile^nate
del boHoa augko canto diPacchJaratU"—(<be sole reprwiueer
and p t t e B agad bdioie of Hw beautifui and magic eoii< of I'ac.
chiarotti.) Indeed, by Iter admirable actings and powtrfiii

* ThiK oj*™ which, in it* or»gia«l wenk sUle, hae be«i

iro<lao«l M tbe Kiags Theaiie doriag tto pseeeat eeoaea by a<S»ac

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THE HARMONICON.

124

exprewion in the IrnUtT canlahlle, she has cliixniird crery one,
but particularly in n liin-t by Ti'lli, introducfl in llic scronil .ict.
Thil linger ia a BtriUine; proif of what industry, pfrsevrrancp,
•nd (tudy may effect; for, with an exterior thnt in the very-
opposite to beauty, with a voice by no meant free from
defect*, particulariy in tlte transition from the brcMt to the
htad voki^ jtt iha tea ■ttaiaed to tht cnriabb pw-MNHmoe
ct Mar fliMHM to nak w mw af Ikt fnl wmmf A*
•iifm oTonr tinw*. Tbe Melat b yet too muell «f « kl^mr
to allov at to form a deeitive opinion, but aha baa all the

q'lrilifir.-iliotis to hn nmo a first-ratr artist ; to thil we may uilJ
liijit i# nut (ieff. ti'. 1^ in othrr important requisites that
ar« rertiiiii ut' i ii-nrin^' tli'> f'.iv.'ur uf tlic puhlir, »ve mean
youth iitiil sront hcnnty of person, j4)inj^ to manncn of the
molt unaffertetl .md fn^afrinif kind. Tbe Genoete, in ipeak-
in«: of her, are fond of employing a phrate rery ooanim
in llair, and which, from bearin;^ a twofold alluthii^ tcDavell
ia the prcaent iaatanoe— La Utlm canto ictfa/

Tka dteenUaiia of oar thaaitt tiUa aaaioB ara af the moat
wfimdSA Md taitaiiil Had ; tte aaaM aajbe aaid af the cmtumei,
meh an rich and elatiieal. Oar teana-palntar. Ganxio, it
Itnown na unooftln- iau-t distinguished nrtiitt in Italy in his
pitrti> ul;ir province, and in tlie two opera* in queiUonbe has
lu'l nhiin iint opportwHliaa for 4lipbjiDf Ma anr-miad and

orij^inal talent.

The rritics remark of tiiii opera that it ii defective in origi-
nality, and built too niurh on the Roaiinian model ; but there
■raaamaapleadUexcepiioni, amonf which wewnwld notice the
gnad Beme aa aaof bjr Crivelll: wonaaW haameri nmark.
HMt Wa k on* of tfca plaoca hla^ iBtanromi bf tito eonpoier
h At taHon af At deadB. The »!s first rrpre.

aaBfattani of Afa opera vera honomd by the pretence of their
Snrdinlnn M i-ctiiv.

The i-clcb:.itcd i'rociulo. the proiliicuun uf which hat been
delavo ; lily hy the run of llie Tcchal'ln, is in a iUitc of
forwardoc»8, and it expected to make it> appraramc very
•hortly. Weihall not fiiil to give you a detailed account of
iti neeption, and can onljr obaem for the preient that the anxiet j
wpreiaed liere to witMia Hi opant wfrisk haa pfadnead ao
aitiaaidimqr aa iapreailea aoiaar jw OMalBal aaMteura is
intanaa in tte ailraaw. It iit howofiar, obiemd with regret,
OaikOa oicheitral power leqnlfile to give eflSect lothia nintic
la too strong for our limited band ; and that the principal
duractfr Armamlo (which wa« written fur SI?nor VeMiiii ' !: (,.,,
high fur the compass of Signor Piaarooi't voice, on whicli
nrrinint not only fltaay tUafa aaut ha chaagadb hat aane
omitted altogether.

With the modest heading of La prima cuntante del montto,
Signon Angelica Catalan! gave her first concert here in tbe
Regio Teairo del Feieone. In order to awaken in mmic-
ioTing MMik an antidpated iqprat for a bkaiiaf wUdi lhaj
ware condemned aafariyaiH to ai^ft IcKrt ia ttb aiMaaary

«d invfoeaUkMala nMaw aoa Aecadenia.* fnthafUfnlMid

tnt—ijoa need be under no apprehension of a fourth and laiat,
fcr after thi« «he really let out for Florence) — she even espoied
fcertcir ti. thr i!aiic;erof embroiling herself with the paupers of the
city, since it was determined by Madame Catalani to divide thit
her really last concert with our poor. M'e niu'it quote the words
ofthbcurioui announcement; " Ter/.> ed Ultimo CoBceHOk il
cui prudutto ha KUa dcitinato di dividtia COt potcrl di
4naat» citta." An iaipoiiuit ^aeitian, hawaiar, am* aa to
whieh paitgr mm W 4dkv tha apaaaaa hMond «a lha
«BaMloB] hat lUa fqjbtai vaa aoan aetnd Vj datir>

mlnation that Ae poor were to pay the piper. The orchestra
t'Mi had scrluos 5f]uab'(!rs with the first sinirer of the world,
before they could touch the moniei agreed U|>on ; all this wat to
be regretted, at it gare rise to feeling which not a littia
interfered with the harmony, moral and physical, of tte per*
fortnancc.

The wondan of CalalaDi^ taiea, iia ir%ear, iihidi haa aoir
aorrfrad a leaf thaatrieal «afaar,aM mil haown, and hara
baaa tbe theme of many aa aattailMtfr panegyrfe ; but ia
order to justify her assumption of tba (Ma afthe first singer in

the world, the ought to nurpats, or at least to reach, tlie
frrarideur, the grace, and pathos of a Pasta, a Fodor, and a
Leiunde ; but thin i* by ni> nirani the ease.

Three days after Madiune C.ilalani'i last eoneert, we had
one trivcn by the celebrated Oennan artiits M. and Mad.
>Veixelbaura. Tliis wat a bazaidons aadertaliinf at audi
a moment, but by a Jadieieus talarHoi. ftwa <ha woiltt of
Gemaw auMtera avtiyohatacia waavrereiMaa ; aaNOf wliieh, oat
tta lanili la that ef ahglar la tha Genaaa liHBfBBfa to Itafoa aarfc
The principal olf)cal8 of aitractioa aacncd to be Baatfaorea'a
AilHaidr. and a llltte song by Cait Maria roa tfeiier, ran;

witll great tendrrTi."-^-, ■[uin'iViry, -.v.A fivIinL-'. hv their
daughter Fricdcrikc, an intcrciting little girl, eleven years of

BOLOGNA.

Thb first opera given here thiiicaioii waa Roisini's Elitahctfa,
but it did not please, though tha flnraaritc singer Signora
Ldaada playad tha priodpal charaelar. Tha Stmintmidttt
the aame eompotar node faila a /iMMWb ladarjL it aia/ ba
safely said that tbe annals of the BulogBeae tbealn BOfarM»
corded an epiKh in which any opera rreated.'so ettraordhiarf a

sens.ilion. Ilnssini and I.ehinde were names in cvrrv raniith,
ami thfir fiitne rxtnlleii to the skir>, and (he other per-
fiiniKTs rcc'?jvc'l their "ii'riteil sliiire of praise.

On occaiion of the Lclandr's benefit, the distingulthed honour
was publicly paid her of admitting her an honorary member of
tha Aeeudemia Fibmnonica tli liidogna, on which oceaslaa
boMraij Wfeattw of lanrela and sonnets in her praiic ralnad
from tte bona of tte theatre aa the fiiroinHe ; and at the eoa<
chidan of the opera, two genii were seea to detcend ftoai
OljmpNS, and place a crown of laurels Interworen with mjrde
on her bead, wMIe the ehorui lang a piece of muiie in pmiia of
the crowned artist. On the followini,' day the nulognese jnmw
nals ran wild in her praise, and teemed wi'h a profusion of
odes and sonnets t^i the f]ii.';Ti of s-ihl-. 'I'lie r.illiitvinr iras the
climax uf eulogiums; first she is styled bi-Histima Si<rnnra, thru
comes vnictt, immorlalt, r'timia r.antante, and lastly a de liilta
le cantatricr tlrl monilo la piU vahrota. Happy the people
whole enjoymentt are so vivid and to cheaply purchainl !

The aakbraied uagcr, Guiieppa MaccheriaC bte^ died haiew
at the adraaeid age of M,

MODBNA.

Trb operatic corps of our theatre wai never more efreetive
than at present, and for thi< we are indebted to the liberality of
our Oukc ^iiiil liib ;llustrioii« consort. Both of them are known
iit the protectors of the arts and Bcienee* In general, but more
piirticularly of that of music. The Diieheis herself it per-
fectly well vened in the higher secrets of tliii delightfiil art. and
CMild tbe high situation the fiDa in society permit her to display
hartalanta. aba wonld ba Jnaiir aatitled tonakuafttit^ato
atfiat. TMteipmM

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THE HARMONICON.

125

l^muioe etpreMion, »nd ttncommoa frnct. When iWn illustrious
pt I M lwgg «*ctndfJ the ducal thrunp, in 18I4| nuiic in M idcna
VM tt tb« Terjr lowrmt ebb ; the whole town could bi>Mt uf no
■rtitt dcMrvin; th»t name. Since that period kare been
Ibnned the Ro]r>l Chapel, an Aecademia Reale, a HucielA Fit-
armonica, and Ike fwMBl buid of the liattagliant Biltm*.
vbkh iHiMIAfli taMm r Miaikar af vw/ iliatiafwabed
—till. At h— <iHly OMiirtid wMi the Mttery of the
ai^I ikdl gift jwi ttnt pMHoolin tf (ht cUtTpnAiMn
■ad llietr qdanfletdain.

Our principal director and MaMtro di CApella, i« 11 Caraliero
Antonio (Jandini. He i* a pupil of the cetebnited Padre
Mattel of Dolofna. Betidrt nevfr.il rr;Mit,i(.i» iuhI uvcrturt.?,
which hare called forth the praises ul the ( <>.,' riu'«ri,ti, lie h.vi
roiiipincd three terioui operas for the to)\\\ tin-jitri- of MwJcna,
the Minet of which are Krminia, Hugrro, and Antigono ; the
tttiMdk ttill a favourite on the boards uf Turin.

Our ttMcrtHMslerit Sigaor Pnwpcnit Silva, ■ waiUnfarniecI
••itpliilidletdtr.

hmmf «m dniin tht mtil kmnni are StjiMn Galeotii,
«kt to coBiUtnUc poven «f voice, joiot great grace of actiun ;
Siymm ('lelia Pailori, a i!af|;er of great promlie, and Si|[nora
Itone Cerioli ; amon^ the men, the principal are, Sijpior
liuigi Sirletti and Si^-nur Antonin Kcrniri.

In the orchestra, tluf arii«t!i »ti" mv. uinst ili>tiii»uibliL-iJ arc
Si^mtr THiiolini on the violotirell", Aneiuliru nn tlic nbur,
Cun>Di on the clariooct. Ualeutti oa the burn, and Andrei un
tin kutoon ; aU of wlMHi tft nknmSuuf mm la «hcir
■evtral departmonla.

Wo liBTC alao amaf na Signor AaioU, brother to the cele-
kialtdB«aifiB% wktvMttwaillkaomi hjratvtndcompoiitions
cT gvttt daMieal htaafy, tgdhfMt th titti r al and practical
«Q>kt idatire to tlieait.

Inttru mental music ii alao cultirated Iwra with real and
•uuceai. Five or six splendid concfrtB have been jfot up tl'.;3
■eason already, under the direction uf the Cavalicru Gnniliiii, in
which the selection was ^od and claasiral, and the porr<irjii^occ,
conaiderinf that the preater pruportiun uf the pliocrs were
amateur*, admirable. Hayda and Mutart appear to be their
favoarile autlun; but taste, in order to be enlij^liteoed, uui^ht
Mt to It loo aselttsire, and we tlioald feel mure satisticd if n c
•tv Oa taniaaaf Becthovao, Ooikw.aM. addad to the liac

«ad Jb9iili»lab Oir »•(• waO fv^mtA and itee i wd with
«viiiidRaMa a]iplaiMa. Strml ptacet in etelk'vaM rap-
turotuly apptanded ; particularly the overture to Aittigon* (the
effect of which is very itrikini^); the introduction, a caratina

with truiiipeti uhlit^.^ti, a Irrrptlo,. finiilr, and a duct in the
second act, at wpH as the concluding air of the hero of the
piece. In the Krminia, ilie pieces that pleased most were the
overture, which scarcely yields in beauty and effect t4i that of
jinligon*; the introduzione ; a duet between the priaia donna
luidtht iMM^a^niMti aaair of tht plmdauai lula,

TfiBnt.

fMro Carignmmt. Our taaaon opened with an old opera of
Mptor Vaecaj, Ptefre tt Grmndt, otia, II Geioio alia Torlufa,
which was cundemned. It was succeeded hy the Matilda
Hhabran of Rosaini, and thi* was, upon the whole, farourably
received. The Mmrg^rita if Amj«u of Meyerbeer also loet
with cooaidcrable applause, aad itill maiotains it* (round.

Ternm Regi«. — The company here is as follows : primm
dtoiiMi. HttiiM Mtiit Uiaii j iMNKIitigi Macii GiiH^

Fuiconl, (iinr. Maria Deeapilani; batto, Luciano BiaacU.
Ilir Otelio of Rossini was the 6r*t opera g;iven, in which Man
displayed considerable power*, and was peeled with daiantd
applause, but the opera itself did not tMht WKf lIlMr
imprciyMi,lho««hitiraeBiidhiaiidadiB Iht Jtw^ of lidt
placeii

ThB company here is composed of the follnwinf;' arti.tj : prima
donna, Signora Maria Cantarcili : t,-nwi, V'illuria Isoitii. and
AiTiiT, Sifnor Fillip|Mi Ricci and Oionchino Hovere. Tlie o]>pra
(riven waj La Spota Ftiiele of Pacini, which, however, waa
di$.Iiiicd, and obliged to make way for one of the works «>r (ht
ruling idol of the day ; It aeareelj ligitlfiad whidi, hut Smdm
mid* waa cfc atea to paiitoi im <!» ttt ■oralty ftr twr dly.

LBGHOftK.

Tits Pisaroni lately appeared here in the chararter of
Tancrrdi. and excited a deg^ree of enthuaiaam which bna
rarely been witneised in onr theatre. Soch waa the impatieaw
of the public to testify their adniratioa «f iw pteihnimct*
tlut she was called upon the itagett Ikttiil «f tfaiMiteferf
act. The FJoieiitioe Oaxette, or ntdier a Mmspondent,
dcscfihnhir ai iw lii i h i Me , aad aaya that iIm hto already en«
chanted with Iter voice the amatenrs of Italy, Praaee and Spain,
and withoat doubt, one of the first tingnta of the Italiao stAf e.

ALKS8ANDR1A.

THaicaeaahenliuhecaeMrethaanfwillyhriinant, and die

company food ; the favonrite is a Slgnora Carlolta Inselvinf,
who made her d6b6t in Morlacchi's new opera Oianmi di
I'arigi. Site lias a considerable compaM of voice, with a ^ood
person, and her actiii;^ is far above the fcnerality of the artlata
of her standing. The Milamae Ctrrttr* rfdb dliM la taiy
enibuiiattic in her praise.

PUCF.NZA.

Of« eompAny here consists ot" — Prima donna, Annclta Fi.icher,
ioliiptcd flaufhter of i)ie i.eleliraleil Rasa, A. N. Fischer; Adele
Cesari, whu tills the men's chnraclcrs ; tenmre, Signor Batt.
Montresor ; batto, I|fnatio Paicini. lUiasini's Donna dtl
Lag« met with a very favourable neeptioiii and afforded tht
Fischer an admirable opportunity of diq^ajiif her ptMft to
advantage in tht part of ffena; nwl tht ma nietoilngiy
receitod wdlh toiy flattcfiaif apphMue*

Tht cahbnMhnltocatoietb IQeaM BtoilbAi kera bldy.
He vai a native of Naplei , aad one «f ttt liat tf the gtod old

Italian bnPTi r-uiiiic. Fur humour, BCtaH^ and fWd leting'*

bis place will nut tw easily supplied.

8IEMNA.

Tn «pm htN la IncMuiaf la interest ; tht taapany it IdgMf
totptatohit, and ttt tnheitmcaaiidenblf nagmmtcd inp«nr.
Tht ataim opened with a sear opera or Sigiior OipMittib •
yoani: compoeer who promise* weU. It is entitled Lm C«m-
teuina ; eiia. Amorn tinet ogni Oitaeefo, and contains piece*
of considerable beauty. It also served to intrixluce to the public
a new singer named Oiusrppe Querri, who is a (food tenor,
with a prepotaeasinf person, and likely to become a faroarite.
After this>e had Pacini * okl opera. La Spota FadtU, in wUch
the same sin|;er also perfonaed, an d lil l B U pj nnr chfato totkt
palfoDifttf theptiUie.

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Ttntro Fenteej—The principal lirn- :in' EsUt ^r»m.

belli, prima donna; Brif«i» Lorcnritni, ivlin fill* (lie in.ilc
(IhUMtCrt; Doracnico Donzdli and niu«epi>« Binacrlii, tenar! ;
jffUf g^ CvteVS, htuM. The new open La SlaHanna, bj
UtmOMte, fMled. tat tlw (bgm pkwMl.

Tra/fo sm f,ura.—T)ie opcrs "Hh which tte seatwi opened
WM ttuMini * ilatiUU Shahrun, vt hkUuitl with a motlerate re-
4epliun. After ihw ciune the Adrlina of GcncriiU ; ih r.:i,anna
M**ouit* hj Cappflctti, and lantly, Rns«iiii » Ldimr-lo e
CMMfMk The CofMnna Idl, but tlw o«licr» picaaed. Amung
«• rinyeri the fiima 4»mam Jiaria €aiit»rcUi k Ibe fkreurite ;
^ has great poW ^ • pleawnif lMm«r, •■4

fair fo VAuk hidily Minonjj Uif liniriTs ..f »ur iby.

The Abbatc 'I'renlin of tlii. < ity liab iim-iitiMl a new kind of
dlfaniiad piano, which he tonu* tlio m. j-f 'A i.wi'>: [>i:in<«. It
h flMnpOMd gf. two pi»no-foi<e» placed im ■ the i)ther.

ThetiMCniHNtitpltyedwithtbe hand8,ni»l thi- I >>ver <>nc with
ftat. The bmat fmr/a h^ tut ocurei ; tbc Utu-r, wbich is
iihaittludr«fiwt iMigw tbMi the vtlMr. ■toadt but a abort dii-
tMce from the giwiD^ niiMtB «BCW>«"j ittk^r»ana»ui
number. ««lco»|i«iMilw BrtfrfdlM

TV reporti eonoentinf *• *i|5«r Amliropettl hwt been
moch MtegfttaMA. Tbril be baoiM eerjr relifi<mi ia true, but
that In MVir ntMd faMMqriMMiltrf, or eoaneeted tdoiielf
irMi anf eociety of bigoM. Ii MflMia ; ttwdia
a qaiet, lelf-drnTinj^ niMMier, h • MwH hMM in K rrilNl
i|iiiirtpi- n-'Rinne. Hii fit ii MW hU •» benier; we an leU
that be 19 makinj;: a pleaMuit Btlla tour M Italy, and MM IM
IbDu^hte wf retuminf to bit fiirmer pwirfta,

Oa Ftidaj, Hay £th, a Concert wa« giiren at the Wauxhall
J' Etc, Ibr Om beaaflt af tha OiMbi, which attracted a numerona
and britliant aaaembly, aid rNfiaed a nceqit in 4Q.O0Ofr^
Aiiump the company were the Dnka^ DiiAaia, and Maideaal-
the Duke of Fits-JaaMa ; the Viwonnt de
.iiiU ; the Duke de Choisfiil ; the Duke and Docbe«
de I'.niL'lio : tla' CjMiit TNicy , Hon. T.afiivvttc and fauiilj",
&<•. IWsidc* ttie utreojs'th "f Uio Il.iliau Oi.cni-li.mw, «evcriil
Liuliesofdiadofui»hed families exei teti their v m .hI er* in lhi»
benevolent caiue^aaudit reiterated acclamatiuna. Tlie |vruprie-
lor af UranshaU not aoly rcAued to aaecfe Oa naual *um paid
whcKlhakbaiUbif bletlbra coueert, bo* avan dediacd jny-
meUkfiirteaspMiiecf B^twfit. TheDuka«rOrlea«*iip-

SiiioB «ff bH^ aaOiH ma aBnifaivwOyor ntairtlni. cnapt
the appearance of a coTleltiaii tt aaaaai mde ftma tha pea oi

],r„r<;-.»or C/lery OK>?.v. Tliis collectiw aaiMiila ofir-l. «
Maas uf fnur parts; 2. a (iradual; S. an OfeitBty, 4. a
Mass. tJra-li-aJ, an.! Otrerlory, <>( four paita ; and laitiy, »
Jlau, tiradual, and Offertory, itf throe part*. The well-ltnowB
coopgeer of thie church music, which ha» excited no lommon
iBlilUlt bom ila beauty and limplicity of de«i^n, w.-u f<ir a
Idnr thlia fitectoe of our opera* ; after retiring from a si-
taation, which ba ktof iUled with great credit tu hiai»clf. he
berarae direelor and pnifblMr of the oonHrratory of Mu.ic of
ti,is i.l u e, an offiee for whiA he k vdl ealeulatad b/hU aaal
aiul in.lListry, Mlth reiipeet to Hw cofarftlewa h efcw ttay

lireathf a spirit truly rcli^iiXH ; aad thoa|fh the Kenatil MIK-

ter of the inusi.; is founde<l on the good old echool of Durante,
there arc parts which rise into ureat warmth m l animation,
without, buwerer. urervteppiog that iuod«»ty io net«Mary in

dmrch campiMiSana. .

M SuBMlClit a < el. lirati'.l pcrf.iniier on the flute, who cn-
invcd tha hannar of p'^ym*: ^^"^ private concern of the
iKcbewof Berry, where hi* majesty vras pU a.c 1 to be present,
inthaatfifAa royal family, who kindly Uslitied their satisfac-
daawaad toWhaM no lew applauee was ^i^-ca at a ] ii li < >n-
can whera lladana PaaU and tha firtt parlisaneta of the metro.

atriited. ia now aa tha palat -af aattbif ant fcr BDgj«° d;.
wiiere, we doubt out. ha trill Bwat w» •ncapHaB witty I'M

diatingubbed talent*.

Um tdiance nwy be placed in the aocounta in some of the
Paalllh JtnniTt'*. the good people of London are aa niue b pleai.ed
IrilhlMir r»* fa«th>ra«e danccn a* they were with >ur
Vhia k firt— »i both Ut tfae« and ui, for sow
ik. ha aatiead. aMV ^ A* ktfa ot

SBVEarra COHCF.nT.— rnJ,-,- Ihr Dirrrllnn oflkt BM
FVtCttHtVM. iftdueutai/, MjirU lite S6lA, itM,

Act I.
(TatloT Fwto, Wv)

Ovetujro.
ilit|uiefli.

Itrcii. Gratie *■ icndo. ) (SmkamU*-}
Song. AcaaplrsUiv*. }
Madrigal, tctan,*
SoD|r. Re's!* tnpala.
Chorea. Tbejo«li,wli
Concerto, 4th. f*W /Wf SeleaJ

Rcciu WtMHiHobinHiBwiMh. '
Song. W ben alofnw the proad.
Choiu». Oh, Judah! boaet. i
Sn.n^, rt.,i.«!tb« I.«rd. fSttttrJ
Cboriia. L«rd, Iboo ait gtacioaa.

Act D.

J/aa4rf*

HamM.

HmM.

; iMTdayab

llandct.

Mofie » ]BBiaan> u„..w
Duet. Ml waiaa aamiai , t

Double Cboraa. OhKiafMri.

Oi n proxpectdwa iintWgl<aHtwA w ptew to aay ; iiawl^
ij;u ■ IIS an eiK-ourapnf peep atfbe befhiaiBfc iBtil la

hcUiiid tlie clouds ajain.— JomeBTi faol
verv iiiK'iy )ii:t:' iriiie.l. aTi(!, in truth, h - ^ _^
if it fell short of i>erfcction, ronsiderhif mtm^Km*
during which it hag been in coni-Unt requitltion
of H, fcrpaftoaand aolcani^, —

Digilizea by Got

We do not, kmd never dUlikt At /dtffai

Ihe fmgm.

MadM CmM^ -Ammtk" — i wj f w J ;— w> have

equally-deBirfitfui acroinpiiniuifnt, it
WMM M dHmt OMr t» procure a richer trfat l'i>r tJie muiicaJ
nr. Linlry'i .M,>(]riL,-:J wiil f^cr plcanf, but why mtHt it be
•hravi <• Lf t inc c.n-lf,, :- • We hard one of the elcfriei.
»nd «hy nut ?_|'„„r Mi,. \V'ilkio,on it ttiU doOMWd to

tiiil in ilirliruft and unaniUble eoop, ku paifanHlM if

ie<|uiriiif^ the power and "'- r liiii ilfi fcil mi (faiMr Oeill.

MMKM of tte loirer tonn of Ui tcJm jM-inM^p^y
•■i lomMt he. waft for time.
Mr. Orealorex ha. loowwhat dirturbcd tiic toleaHily. ai weU

M the »iii,i,!,c;ty „f ^^ar,■ell„•, fine cboni«, by a too redmdut
•cc,M„,,:,,nm. nt. I„ ef.,rr«r he Mcceeda in U«w iobwlMtioiM.
hut un the present t>cca«ioD we Iktak Ikrcftgk WMhiwd brtte
eUm«ur mi»pd br oar old friead over tkt kMtt 4k« wSan
to>ewii»nfc Md tiw iiil lwi f WIiimA '

™f •«*». tfll »e arrive at " Sorprmdemri
r«imbj-irtV0inpinber Mni. Biliing-t<.rL fn tins brilliant aeogr.
■MlildtdSfmtdral wiUi it; but it require* mora foieeMd
ifntuan MAa»iii(- ( araiiuri in irqtial to: ihe tanf with gMll
■Melueu and jtid^ment, but (till the vUmnimttwm
"Ah !,';iard.% Snrcllu' was but a tame affair; lh«
■ut of it! ptar^— it ihoold mH be Mm Sk
alone it prndueee ita proper tAd. Atirtt* iw ekana fa
Hereul«. whi^i. rfl«>lilgk««*tol.,»|««f„ril«„.
we w.,e^r««|y g-lil.d aW.lh, b»MU M^rftom Dryden".
Ode. HTe awv ». Stephen, ,i„^. oTmp

il!l2f'«^?",T^' n n treat. The

OtaihFMBrf Leoajain to ,o„nd t!,c , „f prep.xmtion-

tonrt a^ Md type ta, aod the director of the oi^ht. Lord For-

EIGflTH 00liC8irr^0)Mlrr ih, DirttOm Oe Jtuc at

Aw L

Orerture.

Mailrlsnl. Now Is (he moatfl gf Matfatt

Recit. BehoUl die naiiona.
Chora*. O Baal*

Recit. Nonore^,

Chorui. Lord ot eternity
8oaj Md Chorui. O tboat
MowMnent from the LeaMMM,
••lection from Alefandi'aftMt

BMiuaae. Twai at lb* ran] ' — -
fle^aad'^ — -

~~ HBiiona. _
.1* 1
«. ye afldeb. >
<4 eternity. J

Moaart.

MorUy.

Act D.

OvcrlBre.

Quartet. Fairect iile

cii.jfus. riu,i,',i „ c.-r/,j«i

Mii-iii. a!. Since at»l 1 law youc race.
Co t. < nnw ti piaaa.

L'unci-rUi, llh.
tJlee. O happy, happy, fair.
Hecll. acc. Cru<l«|e ! nr colei pianji. 1

Son?. Hij |>( rJutu il bcl setnbianle. I ,
Chorut. O LonJinthec. (Tr D^um.) Haml^l.

Ti«w«^ wltli the except!„„ <.f^r,„urt « „a^|ficent orertureto
MaaWBerflote, th^rc n':is ii„ noteltv introdnced im Ihe int aet
of tMi eonccrf . the »rlerti„n rert.iinry a fine one; aad W
« ere ..„« ,li,plea»cd „-itl, ,,1.1 Morlev * deliirhtful little andrinl.
It IS «., eoinplelely "luerry EnflandV Buwtb of Mafiaw Id'
the wet^lr so entirely Enjliah, that w« can aMadatv^S'ttMB

""7.*'^ T" ^ ^ ^7 in (ha p«f, A«dia
lUelf.— The chum* wm nrj Jadiemadr added. " Laid of
Eteraitj-fomad, atnittal. a fine contrast witj, the Heathe-

'iimiiH^lT^^^*^ 'ho whole

orttocBerf^bf ban«tun?ina In^T m ble i„»tc»d ..f the brilliant
Munler-tcnor rofee (or which n..„dei intended it. Nothiojr coald
hava been ii>,.re flat and iu^ipid : we bh„„e not the lUrMnxabftl.
we only Uuient that, al,„„,t every oeeasion. pwlbm.
aiie«« are i.ll.,tted for her, to which, with a great deal af Vocal
raent when d, reeled in the ri.s:ht chamiel. the U tataOr lo-
eM>Mf..-tr„(. \'.,..?han omitted tha aiMKd MIW whic&^wU
always precede .ho choru. " Happy paiT-fte Conaeq-ience wa.
that it^roved » yery d-l^. fa*fe» ptec. of hu.ines, :-,hi,
to Dot rayAaWiie. and we fear we must attribute the u„.is,;„„
Iftiad^MMitioa, parUcularly at " SoftJy «weef which f.,l|„«ci
was taken out of hit liand», and giren to Miai Stephens
W*«upect found it less difficult to jin^ in the key of c.

poor Lindley to are onip .iiy it. I„ the r..„stai,t habU of plaVlM
thearr ornpaniment in n. he must have aeliglaed ia Ilia tWDIiiB-

fMtmiU

HiinJfl.
HamUi.

iTfaaaUeiuMiea.

( Figaro J .

Kfamtrt,

Hi- rv„l,.„t|_v ^ladto ^ to the endafow ok.
lor a cadenz-i we had little or none :— tba Wfaide WMEnd ii|r|
ofhusincftii. Phillips was not quite fimiUe maHh h Ifa All
put ofbiiaoair;— buttha vkoie of «J-.t.-ffe
the w.ml, •< Behold a buC be executed witliTfa^
utdpraeiaiaa which reminded ua powcrn,::v .,r i.;, ijrcat pr^
T. Wftaredeliirhtcd to aay tluil h. i«nUu„ca in tlie traek
Hit, ercntnally. pl.ace hiu,, if „.,t .;j«cUy on the taaw
f, 00 the taiue ladder, and very little behiw hiu.
We mutt par eu ry pouible respect to MadaM Patta, ~h Tim
wt ignet the first tiuie in tl>e Co«i,rt-iwim ; hot wa ha«
b. r.,re iiatd, and mutt continue ta repeat, that her gmt pMreia
ure dra„»lic. and unly on the .tap, I, aha «..« « heaHTTSa
h«t adrantajre. Tho.c who have WlMaM* bar acting io tb,
tfa^^ ^ fr«"> h<>ari„;f

"hh k li, - lam kn t to the hiirher «;.:k „; i,er J, _Ti,e

ff 't.^^J^'^r —

feeUay hutiii Aatw^dKw^, , ouuUbly Sat tliruusUuut.

W9 hare nothinjr material to rcmirk up„n i.i the .econd act
MlllW erne as-aiii to M»»art, and Wadatjie Patia with Miu
W»taa,.n i« Me shade ; we ihould hare piefemd a Mac faa
etthrr lady ; but the duet, altogether, waa trail — **Tt in«l

Tlie retena Shield t chanainf flit^ aailWK la be taraaA
into « chonj,^ »ighfc «^ fc, Kwloutly m^ule »

qmniM b«t f* tt, iht aM ad^ irf — "-'rrii U _. i. «

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128

nati m* tmng^. KmtlMeM KwM nrn t Oa^ mM mag.

and M exceedingly well-receifed.

We were lietter plcaied with M*i»me P«l*« Ib kwlMtte*
her lirtt tun^ ; it w»t in {net IcUnr »ila|it«l to her mi
•tjrie J but in thi* »he w»» l^"'" *™1 »«re cmlted

to point out, aroon^ the niimeruu* cmlltMiM MtSu*
, adfftct— «« ■bcNild m»j the ear.

I wwl-aubduii^ chorui preciie)^ in the verr

ytotewhWB it M^il aot to be :— the iwi.y " B»lu»- wouM h«ve
«gBtlD km «Mi giwliinprietjr. and ■

Lord in thee" tbould
ofdi* Acb

JWoMrt.

tofeMOw

lOlfra C(MICERT.— tW/^r (V Orrrciion 0/ //u Cra« M*
/■MMimf ^ I've. KWMiJay, ilfay M* lOM, 1886.

Act I.

ConceMo, 9d. (Oboe.)
DuHto. SuU'aria. (FigaroJ
Trio and Chorui. Sound th« load tebMl.
BcciL FollaacQhii. >

Coocerto.ltt. fOjpemWJ
Rccil. Tmnquillo io ton. »
flODg. Oinbra adorala. i
Glee. Though ib« la>t Klimpae of Eritt>
Relicvr OiT Clminpioa.
Return, <) U<xl of Hoita,
Tactta vnitM*.
CoiMMieoAMlMa. HyhwrtiaindiiiBf.

AcvU.

Qaitletto. 8Milo,ODio!
Soogr* Do** *ei

Trio. Wro ia thy thtoae, O ImmL
Chorua. Gloria in eicelaia.
Un it. SpoM, Earidice. 1
SoDR. Che £ard. f
Moict. Tantum v.r%o ncrameMmi.
SuBf. I know that lajr Redeemer. |

}

GevuHtam.
Ougiitlmi.

HanM.
SaecMni.

ftrgeUti.

(UtuuAJ

Ilaruitt.

GkMH. Worthy ii the Lamb
TM icwnd oboe coaceitn, which mu^t alvmya giv« Mtitfactinn,
{irtryiwnr* to n thw MMtaf • fair cindidate for foesl f.une.
«|ion'wt an happjr to fttH m tha nicoe of tlwt gederal and
aeitemd Ikvourite, Mw Btepliem. ud it imMiMt teddinf
the vounf lady jtutic* to vkhhaU MV liMm »l _
of her first performance with her — that aha tabanred
under tli;U liriii Uty wlui li must he insrparable, oil A (ir*t
appearADte, from a (iiflid. iit mind, wss apiiarcnt ; but lhi«,
before ■ liberal and in<iiiliri-iit .ic li'-m-c, will ;il«i«ys make «
fcTOambla imprataion. Mii& Johnson felt the kind enrou-
m-^-Ul ^ iinairfd. and long ere the concluded the duet, hnd
nkiniinni We will not, m yet, criticiM too

J iB'icgwd to bar roeal ability ; Itea wwt be allowed ;

bi* lUi « Mj aafcty adfwiea, lhat bar «» to ba good.

and a» quality of bar vaiea meaadfaiglr

Pliilliim did jijDtiea to "Naaee al baiao f b* Mmf itwMi
rre;it fccline, but ha will aiaf H man clbetifalj tva or ttica
h tMMMheamaubiil^ ■tpNMambr

Puta fr*'^ u" "ioTC pleasure than «Te hare this
in her " Ombra adurata" — it vra« a pcr-
i forth the richest tones of hfr voice, and
peculiarly aniaiated. It hag not been
iln **]Utoni. O flod of HoaW* to a low loprano,
* - ■ paiffawimra, wbm WUUau

Knyrett iia«* it, and cartioa on the tubjeet in the chonn
iHriab Mlrnn, aad which it ia perfectly barbaroui to umit.
Tb* vbola bawUfiil aceae ii deatroyed by it. I'here would
bam baaa a jVMHrf ritimg m tha CoMert'roo«a if the hut
MMttUitha/ifMaMMyhadbaaaomitMdt ^ ,

Tba q«aito»«M«>i>CU it Mt pattinlBrij atriUof ia
ittclf. and waa a aidlHl aftir tbb iwii hg . Mate Ftota
wi«lie<l herself upon the atafBg atUenflf.

,M<iiart B noble Sinfonia fai » opened Aa inaad act. Vaati
altngrthtr. so striking a compositirm ai the Jupiter, there are
parts in it we like eren betUr .—there i», perhaps, more air in
it, and eeruinly intricacy. It waa admirably pcrf<.rinpd,
aad aatraa the delightful quintetto that foUowed. 'I'liese are
norellMib far the introductkin of which we cannot be sufficiently
naleAiL aad uaba aa liy Mt to the dcrg with aome
dcm« «f i aa igaall a«. Nalhfaif cmdd be nora tander and
deiieato lhaa Uiia JahMatfa - Data Brt,* *»
wascooeemedj batwbua wttotbawarAf WaarijrgiTaft
hint wa bahn aali wM .at ^ apta aw aritfMf

Aal/ery.

••Fall nis thy throne. O iKrAtl"— ftr. l 1 lu-iiry f»ll
heaven knows. How can such a luini i-h tiurijf be liked?—
Madame I'aata was ajjain hen>elf— no fl.aiie«9 t.cre— her whole
pcftonnanee af Qluak'a fiaa raaitatire and sonjc waa perfection.
We aia mt laliwha aaapattd tbe motet which followed, and it
doei net ntoh ■allar. 'Ha «M aridaatiy of a fuieMea^ diapo-
utioa.aallihadaitfpBavairfthaB..

Miu Stepheoa tanf her hearealy iMf witb bar uaaal
aad after auch an impfeaiire prepaaaliaa' Sir tta aaUfaM wbaiaa
which was to foil .« , who would bare bcQered that bacfca WiaU
instantly haTc hct n turned upon it, and ehmtUringt aadalal-
Irringt commenced I

But, puUiuf tliis bad taste out of tlw; question, we mutt again
naintaia that there i» a manifest impropriety in pUciii^ so
i^aua a chorua aa the present in such a situation,
to Mich inaulting inattention, and we care nut how
aaaniUaflmaalhBAf^hiabaraf Yadtia aeywiatad with our
aei ~

Firm CONCBBT.MoDday, May I, iai6.

Sjnfunia, ... . « • •

Qiiiiri.-tio. MadaoM PasU, SIfBor Oaiiaal*

Mr. IM..IliiJ^,andSisBorDeB*faia . • ITa^ffc
Cunceito Fluiir, Mr. Fiiiateaao (KlrHFlateto

the King of Saiony) .... FBlUllBail.
Trrxclto. '• O nume bcncAoo!" Madame PasU,

Mr. IMiill i i. aud Signor De Begaia (I«

o.«-/^.^) .... .

Aerll.

iaCMiMT
llcalt.«d Mm ,

C^a^nOh iin OW Jkatot <ViaUB da la
ChaaibwdeS.ll.ialtotdaitoMa) j.

Duetto, " O liaiaa ioaWiaalBM,*' SlfaerCaM-
oai aad Sigiwr DaBagiia (Jt Bum Oliia a ii l) Jfaaart

Ovartorc in O. • * • ^

Landerj Mr. LoBBa.— Conductor, Sir G. S>&a*«

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na HAttMORIGOIl

The complaining swertntH iind emui«ite tendirneM of a
TOruiinn 1(1 iti B flst iiiiniir, drew a miinnur ofuitisfactioii
froui the whole nMiin, and the movement wa« encored. Tlie
qiMlCtt of Wieigl, " itapcfittto. •UrlorJito. " it a tpirited
ftam, with » dl«tiiie», pntlonimai adedjr j mmI wm wall tx-
T%» little ctiocerto w«t ynfallMit^ Mtif* *• uader-
to the infiapoiitiM miicr wWck II* VlnlMau wat
wITeriai;. Upon toili occatiMf ft thuifB dndt It nude ; or.
if time and ciicamftmeet do nut adnit, u entire onriMMM is
prcfer.-ible tu a fulure. The fine, leriods terzetto, " O nume
beoeficu!" wa« charminirly kunf ; Madame ri. h voiic

■od iiiipre«»ire manner pri>diiced a itron;; effect licrt- ; nud
Pliillipi blended with hii Italian coadjutura better tlinii is lutmii
with Cngliiih linK^era. The quick luuvement of thin, tbuu^h »u
Id^ly dnmatic, is almost ai delijfhtful in the L-oocert-rouin m
OB the atajfc ; the animation tiiat rei|(oi throughout, the bril-
tmf of the air. and boldocu in tJie modulation*, prove how
fnat ft OMter Rna^ it when h* ch om w tmtimm yawer.
llMMflrtn*l*Olt*ra. MVpMAnMd fv the int iIm b;

wimilil ft iMItiBir effect on tbe undienee.
far it ft Meaad tiiaf. The openingf of thi* i« in
W^^bef% penliar and bert manner ; the quick movement, cuo-
■litutiBf the freat part of the cumpoaitiiH], i* \e*% uricinnl than
■Mt of bis ctMnposiliun* ; but is iii;.'oni(i<js hikI rrnnd.

The symphony in c minor of Bcinhoven often called forth
oar warmest praise : it is certainly his chef ttituere in this
branch of niutiral compii«itiuii. Madame Pacta's air from
Romio, was, eren without the adjuncliaf sStlM and e0*tVie,
ftOeetiivanddeliaaiiB, Us.sONt oa Oo es f g / was nhni*
fHlod in Am oMidnoiio nni Isilg ■oatiimd call &r its rape-
tfHan, vMsIt was pracelblly oomplicd with. It will be lecn in
oar msmair of Zintpireni, that tbit eompoSMen i* by Creaeentinl.
the celebrated soprano; and we in.iy sifcly affirm, tliat on its
influence mainly di'inTHlH the »tii<fss id' tlie opera. The duct
fruMi /.»o,-i (i'f>\\innl ii-ry Injiidiciinulv Mlcclril : if iIuti-
bc any iiuc v.K.rl |iic. r wliirli more than aiiottiiT depends for
effect entirely uri ilic scene, it it this: without tlie cemetery
and the apciikiit^' statue, it is quite uninlcili^ble— dovnrig'ht
ounsrnie.

or M. Bariot't ptrteBanee oaljr vmt oploioo asaas to ho
oil ^pno hi n)flaf that ha hos oo
Jodgca fo ft alB|> Ibithcrp «od plaeo hiai at
oH Ms ss K wysw ri siL Hb Itoo h ifah and powcfiiil; hb
doable-«tip« are •eciiraey ittslf, aad, fre^aeatiy as we bare
heard him, we hare netrer yet had to cmnplain of a liatfle note
Liriiii,' i'U >riiinc, even in his extreme shift*. Grandeur is the
cliaractcnr i I. of hi« style, in which he remind* ut of Violti ; in
the tn(«lc 111 usin.' Ins bluv he alioi imicli rcsemfales that line
psrCaratsr : indeed h« baa been braa^ht up in his whooi, sod

may ho t oo s H iis t as « tBsiwaimt. Wiattar ha
his ftfto la aa oa d eothoiiaMB, we bare to leani, fiw he haa not
yet,— la onrheaiiaf at IcMt.— played one of thoie ada^ot which

measure the diniennidns, and asctrtiiin the tempemture, of a
performer's soul, if the expression may be allowed. We cannot
help indulfinp a \w\yt that M. Bcrlot will work ,i change in Oor'
violin playing, which ha* fur some time past been
toward* friroUty. not to say trick. Tone* of "i
Mts, loof dtawn our are what, in bowod
people of came* laalB. Bftd howsfsr a fkv JMa fall
for tfat imm aal auipriai^ aod thtnhf aonta^ they afford any-
tUof bat plaaaoio an doo, aad eaitaioijr ttare no (raUfyinr
OBthsaAid.

r. Maf U, IM.

Act I.

Sinfonia in D . . . . , . Bttthovtn,

Song, Mr. Sapiai, « b oallfo woitl^'* (rtt

Cmiion) Ha^K.

Grand Concerlo (MS.) Harp, Mr. Dili . DUL
Duetto, Miu Paton and Mr. Sapio, " AaMT,

poMcnte nomr !" . . . Jbisttnt.

Omtaic, DtT Bthtetteher itr GMMer . .CM. «w» ITthtr..

\vf U.

Sinfun'ia in E fiat .....

Scrna ed Atia, Miu I'aton. " Si, lo •ento,"

[Fausl'j . ....

Quartrlto, two \ iolins , \'ioUi,and Violoncello,

Mcmri, B<'llon, ( )uiy , Morah, and Lindley . Haj//^
Trio, Mill I'aioD, .Mr. .Sapio, aod Mr. Phillips,

" My soul wiih rai;e" (tfeioil •/ CWniM) . Btethnn.
Overture, Lodottki C'Jurubini.

fcsadWs Mr. F. CK.\isEa. — Coadoctor, Mr. Caawaa.

BuTWfaTft ftjavhaar (No. 1 of Giaachslliars tMias)
abaaads iaaU Iht iwiatlia this oaapasts^ ilefc Amofi Ifeo
etpresiion and enerfy of tin opcwof sdagin th« htiiiiaftqr and

vigour of the followinfr «llei;ro— the ezi|aia!t« beauty of the

larifhctto, whi< li in 'luile mk ^1 in its expression — the plnyfuU
ncss, and unexpected mmtidations of llic scherzo, with the
deliciiMiB hnriniiny of the succectlins,' tri ) -ri->iJ the spirit, almoet
intoxicating, of the finale — these aito^thcr leave oite in a ttata
of excitation which the repo*e of a full half hour would tawdly
anhdue. In inch easca it b to be wiabed that a short lataraf
irefo fiaalsd Ibr dia fradnal sabrfdsnca of tiw swUsd aad*
slaaat oKcwiomht apiillsi if a few ndaolaa aoly
atbwed, tte mhid woald ha hctter prepared Ihr adttt I
than it utnatly is when honWI to attend to somelhiac which,
thoujrh periiaps dlffer1n(r in character, demands nearly the same
afScnliiin. Mnz.irt 5 Byniplinnv in R flat, which we liivvc lo
often ii.eiiiioncd in our pajfcs, i* in no wise inferior to the former
in merit, and produces as nnirh effect, hut by different means,
M. Weber * ovctture to The Ruler of the Spiritt it qidto
Grnoan, rery original. In part* approaches near to the MbUaw*
and b a masterly eompoaition. tluit will be better uftdanlaad
and aaore liked the oAener it b heard. Cheiubiftl'a ovaitora to
Lodtiikm ha* aito IhsqiMfttiy rseaiTed -"-^iiti nf apptoiso.

A harp concerto ii not oiactly the thinf that wo wVk to
hc.-ir in a concert^nwrn, batvaricty most bs ionght In all ahapet.
.Mr. Dili produced an elefaot wclUwifttan eompoeitlon. thoa)r(i
not quite (>rii.'iiiHl in all it* inoreiBeata, aftd he performed it with
true taste and feelint^. From amonf all the eigiity-three
quartetta of Haydn, a uiore unhappy rhoice could not have been
■ads than M. ficUua'i, or stane other peisoo'*, for tUa oraaiBf I

Digitized by Google

THE HARMONICON.

WW Ixard witho«it intereit, the pcrrnrmm nil lAbuurrd iu
««io, »a<l when over, the coliloesi of the appUuse proved the
laittake thmt had bean committed.

Of the rood portiaa of this concert, the duet, " Amur, pu«'
Miili ooaw," frum KoMiai't ^rwiila,— the onlj guud ihiiii; in
the npeca., — wa» extremely veil uinf ; to iriu the flue triu frum
Tie MouiU cf Olivet. Mitt Patoa got rery alily tliruui;)i the
UWriou* t*»k the lukd to excctite in the tceaa. and lur fruui
Spohr't Fautt. In thi* there is much eteg^oce and patliua ;
the Bccumpaaimenli are ikilfulljr uanai^ed. and the good Iheo-
ri»t u apparent throughout ; but the vilifying principle, inrcn-
tiun or geniut, i» vanting, and Dritbout tbii, new ci>inp(i«itii>ni.
M they are termed, become mure and more fatiguing in propor-
tion at their niiinber* increate. Spuhr hat a lupcnibundnni-c
of tcience, but a deficiency in the power of creation ; his
woricit, llterefore, art generally the result of labour, rarely of
tnpiratioD.

FOURTH CONCERT. Monitay.May 6, 1826.
• Pa«» I.

Sutfonie Paitorale . . . . . Bfeihntn.

Son;, MiM Bicon, " Notte tremeada." . Slforlvhi.

TcneKo, Madame Boaini, fjigpiori Pellegrini and De

Be^ui*, " O Nume broeSco." . . , Knami.

Cavalina, Madame Patta, " \h'. come rapida." , Maytrbeer.

Quartelto and Cborua, Madame Patia, Madame BoniDi,
Signoii Cariooi and PellcgriDi, and the Papils of
tlx: Academy for tbo Chorus, " Cielo il mio labbro." Rmhti.

Part II.

■Orerture. (Ut Dm* JeunUnJ .... Chtrubinl.
DucUo, Madame Pasta and Signor Pellegrini, " Se la

vita." (.VrmrramiXf.) Rontini.

Pantaiia, Violin, Mr. Mori. ... Maynrdtr.
Duetto, Signoi Velati and Madame Boaini, " L' anut

depooi, ocara." Skviini.

Duetto, MadanM Uonini and Si^ur Cariooi, " Ric

eiardo t che veygo ?" {Rmiardo « Zaraida.) . Ronmi.

OvetluR!. {,'Aat»h€rfliiU.) Mosart.

Leader, Mr. kLtasawiTTn.— Coodactor, D*. Crotch.

Tub Paitural Symphony waa well performed, but lu its beat
ttatc it alwayi too long, particularly the tecoiid uiovrnicnt,
wfaii'h, abounding in rtpetitioD*, might be shortened without
the tlight««t danger of injuring that particular part, and witli
the certainty of improving Umj effect of the wbuir. The follow-
ing (hort account of the coinpotert intentiont, printed in the
booki of the pcrfomiaitcea, imparted a good deal i>f interest tu
thil piece :—

Firet movement {\) Patloml.

(V) Scene on the bank of a Hralot.— <lmiution

of the Dightiegalc and the cuckoo.)

Third (|) Rotiic dance,

F<^urth . Sionn.

LMt (j) The ihepberd't loBg of gratitude.

Tha two ofertortf were dime jutica to by tfa« bai>d. which.
In fact. coMtaiaiag many of the Philharaionie orr hcttra. are
won drilled in inodem iMtnin>ental matic. Mori executed the
Faataaia with great brilliancy and taite ; the Iriih air which be
introduced was pUyed with admiraUe ezpretii«K, and drew rery
getiMsi applaaae.

I'lun conrert ha; the credit of having presented Miu Bmob
to the public ; lihc nunlc licr lint appearance oil the pretent oe.
ottion, and .i more tuccetaful debut of an English tingfer wo
luire rnicly witnetictl. Her rvice it a rich meizo-aopnuiu^ with
il compasK uf two uctavtt, reacbini; a in alt, and rxtt'nding
downwHrdH, wc think, to a Ihc fifth line in the bate. The tone
is tvrcet. but of ili power we niUKt jiulgc nt tome future uppor'
tunily, for the aerv<Misite«t almost inieparablr from a (fret per-
formance, evidently checked it* ttrength. Mitt Bacon's taat«
is i,'(Mid, and apparently the result of a lout'' and intimAtr ar-
(|uaiat.incc with the beat music, and a ttudioiit attention t» the
l)e*t singrm. Her forte tecma to be in the pathetic, the iitvle to
which voice* like faert naturally lead, for these are teMom tiiffi-
cientiy flexible for rapid and brilliant pa«sacct, but are all lender-
nest, and devoid of every quality of the sparkling kind. Madiirac
Booini did not exhibit Rii»ini's Tcrirtto in very favvunible
colours. This is tlu^ sjinie that Mnd.mie Pasta tan;; in so very
differrnt a manner at the Fifth Philluinuonic Concert. The
latter gave an air, added for her by Meyerbcrr to hit Ci ociulo
in Kgillo, when pcrforuicd in Pari*, which i» not vcrv etnkitig,
and derivnl all itii merit from her nuHle of tinging it. The
Quartett (hum I^a pirtra ili I'aragone) it charming: but the
chonit to it had belter alw.-iy« be omitted. The duct from
Semiraniile wanted Reniorini at the second to Madiiriic l'a»ta ;
Pellejfrini it ni>t meant fur serinut music. The rest of the vocal
part shall be passed over in oileikcc,

rilTil CONCERT, Monday, May 29.
Pabt I.

Symphony, {MiUlarj/, No. I?.) .... Hai/'hi.
Duetto, Si^ori IVr Itcfnii and PcIIcijrini, " I'a tf

^eto d'importanm." {CrnereHltln.') . Rwini.

Trio, two Violoncellos and Double Bass, Mr. Lind-

ley, C. I^icas (popil of the Royal Academy of

Music), and Mr. Omi^elli. (No. 1 1, 9nd Set.) Cvrtlti.
Uuclio, Mailame Pasta and Signor Pellegrini, " Di

eepficci." (Comditto.) .... Rnuini.

Aria, Miss Bacon, " II min hen." (A'iaa,) , Pauuella.
FiiuiW, Mnclante I'atla, Madame Bonini. Si^oriCu-

rtuiii, Beeres, and Uc Bvirnis, and Mi. Sapio.jun.

(pupil u( the Uoyal Academy uf Music), coo

Coii, '* Si fuusto." (Zcimim.) ... Auinni.

Part II.

Ovrrtorr. (Egnnmi.^ ..... AMAorrK.
Scene ed Alia, con CoTO, Madame Pasta, " Ciel

pielaso," {Ztimirn.) ..... RattmL
UuL'itu, Miss Bacon and Madame Bonini, coo Coio,

" Ravvisa tjueir alnio," (It C'vdntn.) , , Ntyrrhfrr.
Aria, iiignor Ih-^ei," Pria che npunta," (// Uatii-

tnvnio Srfjrfio.) ...... Ciwuireta.

Coio Pastoral"-. (.inrriiaHo in Pnlmira.) Rnuhu.

Overture. ( tt%nrrmn.) ..... CA<^Am/.

Lca'fcrr, Mr. F. CaAMCB. — Conductor, Dr. Crotch.

TiiR inttnitiiental piecm in thit concert require no coounent,
they are to well known ; with the exception, huwerer, of
C«n:lli's trio, which, fur the sake of tviety, or, rather for the
parpoee of enjoying Liudley't delicious, uorivaJled riukmcello,
we are now and then willing to hear performed without riulint:
but let ut hope that tbit departure froui the compiMer't d««ign ia
not to settle into a rule, fur there ran be ao quettion at to the
aupcrior effect of the trio in it* orifcinal state.

Tlw duet from llie Cenerentoia is a weak comptwitioii, buI
tbuiigh well tung, and a tpeciet of music wherein I*t)legrini ia
i^uite at home, requirea the Mage to give any elfcct ta it. The

Digitized by Google

next two piecM we UnU andean only report from he.irsAy, that
ttcyvmwfUpnigcmcd. TIm &w1s irutcd more rebciiiiof ;
w m rwwMt it >fM IniMflMi. IMKnc PkMali '*Giel
fKm*" mmiiiltUm; i» b om i^tmMu niil liwiii
laibMHiUfalainr Tha tet fKni <he CVocioto i'm Ji^^ wa«
■at a happy unitm ; and it ra:i>;t b<' ;ickTi.m lolLaii, tli.a " Pria
(he ■piinti" netcr now* pnxJji-LS ctUcl. Ai. tu l:u- <ii;:ir(Ptt,
'.' Jj'Asia ii> fiu illr. ' tliH.i;rh Sim; abuut iu iii;liiv )/riv.ite nm-
Mrli, it iias nuthiruT iti it, either in the i>li.i|ie lif lueliidv or
hitnitunr, thiit f^itt'^ i' l)te iiuallest claim to iioticr, :iticl tJie
tMMC of ifat frniuitrit p«rtoniiniirr can (oiJy be uadentoud by
IkMe vk* are aware that lliv fcci lti.: iiiu«ic i« the aattpttru-
ahai im mm fwhiwiMd HMubliet; •« Mukif out uf
«w iyatlr «f A* »«ti— ftiwHiy thm. vAok bypannit.
Ifaf UMMNbwtoba M kf ana V hiMtliuf pMple with
■■iMttediaga «f tka anw. calibrv aa tta comporitiani tiiey
mrominend, inflict od the tocici) iti i^hi<:l> iK. v muvc, the
flic ranee «f nutic that ^ret no real pleasure wlicu beanl, anil
vWah iaaoMinad laaUbiaa at thaMVinliaftartkaaaaaan.

9i$eitefit Concerts

KUK TU£ SKASON UK.
Mr. MoacHBLi* .— Friday, April Tlh, at the Argyll Rooiim.

Mr. Mosrhclfs pcrfortnfd n ncn- MS. conre rtf>, by Humrnel ;

and a fant.isi.i nf his imn, rn'.itlril T/u Hr. oUrrtinmoflrrlanil,

with orrhi'itral arfntiipsninirnts, ronipoied fur the orraiiitin.

B4.tli of thcue were inach applaaded. but the Inttcr. in which
•ooic beautiful Hiberuian ain arc introduced, excited the moat
trely pleaiure. T^ic urerture to Eurycntke, and two rocal
piecei from the FnitehSitM—nag bj M*i!-nff GandaK and
Mr. Brahain— were pcftaneA Moiac ik» AraaSaa af M. too
Water. Mr. Lindlar played a aalo| M. Mnlenwi tarn «»•
itillam on Ika fata, and M.Kkamattir a fimtaaia aa Oe
iMIiu Hwc waa alio aonw good TaoBlmtia, airftta no*
ma flfwdcd to amn.

lb. CuATWtiV-Fridi^ Jlpi^ld^ at Aa HaMrafu

Thaparfanaam wen chiaij thaw aii|aced at ois Ancient eon.
carta, with thaaddkioa or SipanCnrioni and DeBe^U. A
fnala fiw lha dm» Mtuitw of ITci^'l, " La tua tureia ;'°
and a aelectiva {ran a mat* by Boi ili > , , j.. M ere pr<Mliiccd fur
tbe first tiiae in this eouiitry. Tlic *eictUun waa very good,
and the cumpany of the moit deaiiaUe kind.

Mr. VAOMurak— Friday, April Mat. at the sftTne Rooms.
!tha performer* neariy the lame aa at tht- Lint-iurntiuncd,

Mi» I'aluii Iitiui,' jddi!iJ. 'J'hc scli cti. -n, ;i v>h .i1 «imc, itm rx-
ceUent, UhiukI] it cuiibuuni nutitin^ new. 'i'iie romu waa rery
aeipeclabty iiJied.

Mr. BKii.Ainr'i.--Frid«y, April emh. At the cane.
The perfarmen of the Ancient Ci.!.. . n ,tI..> attended ,>n thi*
occafiion, together with Mis« I'att u. Mr. Iletrrrr, &c. Mr».
AndcrsiMi ptiiycd a comp<»itiim by Hiimmel on the piaoo-fotte,
and Mr. Nicholson a fantaaui un the flute. The ofarturea to
/phigfHia by Olucic, and to PromtUaut by Bccthovan, eonati-
totrd the reat uf the ia»truinent|d aaiie: tha raaabidar was
focal coaaiitiof uf brourile pirrp*.

Mr. 8. WaaMt'a,— Thuraday. May itb, at tin; Argyll B»K«i».
In Ulc fir.t part of tkb coneert. Mr. Waaley perioruied aa ex-
MmimcaiicaMa faiWaaia on the organ, an andante inwhiehwaa

• Ptimadia Vol. u., of the Haaaonioan. ■

retjelMr, andr^ln t»hit of BMlaliM»idN^frib4kMdbf j
bnt 1^ icfiettad tiat ba had AMtt.^aHar Matiuaiim tat A»
Replay af Ma ahOWaa. Thr aaeond art caaAttd entirely of ■

Confilfhor, by Mr. W., a work «hich contain* »omo very fu»a
o-iiupitaition, and many beautiful paosaiftj. 'flic principal
pcrlormcrs in it were, Mih-r^ P:it.in, Huiiimi-rvlcy. and t'awie ;
-Mcisrs. W. Kiiuii tl, Jiriihaui. \ augluui, Sak, and Philiipf.
.Mr. .VL -.iIk Ioa played one of bi» nHllaily 'CeaBKhlB .at Um

citd of the br»t part ol tim concert.

Mr. P. ClIAiniira,— rVMay, May 6th, at the Hanover-
Room'.

TlKiufh the fine liuml of the Ancient Concert attended on this
oceasion, tlie dcleriion was almost exelusivelr of modern miiaic:
the only eacepiiun wai Handel a 11th ^rnnd concerto, in whirk
.Mr. CSiiMr deUirlited his audience by his Ihw, rick tone, and
chaste manner of playii«. After all. thit la the that will
paraHuwnlly pleaae. MadnM Paaln aa^r "TW elf aaaaodU*
Mr. Wailqr pnfaaad • fiigua of MMtiaB Badi m the ei|a»*
and M. Maaehelee tapaated hie ahaiaring g e e e M e c lsewe af /r».
W. lliia Stephaas. Mad. Cmdari, t^nar Oarieoi. mL
otheia, assisted at this concert.

Tha Si«il«M MauiroNi's,— Satorday, May IMh. tH
Mn/OnrnTakra, Ontllon Street.
The private concert of theia toterestinif porfornwrs, at tlie-
abovc lady's hou^r, imisistcd chiefly of rocal inii»ir. .Ml the
open owps lent their aid, and a great deal uf laahiooable cooi-

Mr. J. B. CramkhN — Mi.rniri^' roncett, IHiesday, May Iflth.
This was one of th< Unt selected concerts of the season, and
attracted such an asM~ijib]a^e uf youth and beauty as are nttW
•eMom seen collected in a public room. Madame Pasta nqg an
lur of Paisiello, and Miss Paton a new MS. song. Sifuora
Citrioni and Pell^piid also aiaiited. M. Kieiewftter played
Le petit tamiomr* with miatimfc «■ fhe vkllji, moat delist-
folly, and Ife. Kteholian ihairad Ui anpedariUU inniaalaaii
Ibrtkaflnle.

Mr, Cramer performed a concerto of bis un, tin mlMlc
moremHt of which displayed all his unniati li. il instr, iinil a
kind of expreieiMl that lia., Ii.irillv even an iinilatur. Often iij
we hare heard tJiiseiquisitc pla\er, wc ahra\g listen tohim with as
luurli pIcAMirc aa if bin touching sounds were new to our ears:
and «f llic uiuc hundred persons, and upwards, who C«n*tituted
the audicuce, more than half, we are persuaded, attended fcr the
salce of profiling, as by a lessoa, frou ■ parfinmanae wMc^
uke it fur all in all, cannetbe eqnaUed. Mr. Cramer also exe-
cuted in an admirable manner, Mozart's concerto in b flai.+

M. Da Brriot's,— Morning Coaoert, Fridiiy, May lath, .
at the Argyll Room*.
This njgr^plw^ ^perfunnanee teak pkwe in the iii ladiij

Met«ra.8qiio. Begsee, Undlefs l> m,i a u a H l. Pinaai, &<.. asnstod,
andM. Mosehdes played a «MilM0hm#. W» could only r«-
pciit in (bis place what we htva tibaenrril in .i ''nrmfr |i,i^r- i on-
rernirii; M. Iterinl ; —therefore merf^r state th«t hi' playni the
s.anie piece n.m- th it hi- cxeciited nt the fifth I'hiihJirruonie roa-
ci-rt, antl viih the same ability; aod aho the vi«4in part-of a
trin. tvith Messrs. Dra'gnfletti aAd De Maanmao, compoecdof
airs f«oai Frtiichutz, arranged & an exeecdiqiljfivalar oa*.
nar»|Mfa«tt

• VabUakad tetka Uakkomcok. r • *■ ■*
t Asa HAaaoMCOM for March iast.^; T , T . : X

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TBI HABIKXKICON.

iSirxANOwiKA's, — Morniof Coneert,
Mmj 18tk,Bt>rUii|-«Ri

ItoTal Hlg^iiMM tkt Mlmn Aiifmta w»t prctent, rad » lonf

Bit of pciipip of rank. Hadiime S. performwl the pi»ni)-forf«
part of Mozxrt't fine Quintett in ■ flat, in n mo«t correct man-
Mr, and wai iMlminibl;^ accompanied by Nidjilnon, H'illman,
Puni, «nd Mackintocb. She alio pire a rondo brtUant by
lOeiigcl, which thoufh it pouenei but littJe intriatle merit,
Iherpowenofexeeotion verycooepicijouily. Meidamet
Booini, and Cume|rii, together with Signor* Curioni>
> Totfi, anAPtUiftwib Njvwlad tl» roeal part witk

flnacatLiTikAnaidRoTRniNo-R,— Fridifilli^lMl^

at tke Argyll Room*.
'Thii waa an exedlent e^eert, chiefly mral, and alawet every
. diiliafiliilwd for talent in that deimrtnent performed.

W via glvnif but fame of the beit eompotition* «t
; ia ilirour were iatfadaacd. aad wall «x«nt«L The
naxingly fufl.

FESTIVAL OP THE SONS OF THE CLERGY.

thr Thnr^y. tie flS«h erf Mar. ^ aaaiial {MftbraMM* aT

iJicred muMc tiwk place at St. Pauf* Cathedral, in behalf of
this chjriwble corporation. Loiif before the time appointed
far tlic ciinmiciufriifnt of the ceremony, the chiirrh wa« ocru-
pied by a moit respectable amenibly ; anil thoce who were not
iiitunate enough to aecure placet in the body of tbc r«ihcilr.U,
aan tested thaaiatlmirith seat* in the aisles, confident that ctcn
fttN the dMaa Mmia of Handel would be appreciated.

TIM Mfafrdift b, w thia accaaiaa, anlaigcd, to affoid aecom*
■mdatiwi to Hha \)uA «f jilmiplal ml tm«I patlbracn.
T«Mp«aiy witena aia anclad iwml Oa indii «r ft* ^ucl :
and the Intenticei being Aaa flffltd up, Ike aairad h eaiiaanlnled
within the body of the building. I'lie principal Tocalitts are the
gentlemen of the choir ; the band was now led by Mr. Cotton
Reeve ; Mr. Attwood prciidine; at the orfH^ asd ]lr>OrCBto>
rex acting as OinJuctor of the whole.

The performance always opens with l1ic fine overture from
Jltlher. To thie succeeds the Dtttingrn 7V Deum, wliich i>
followed by the well-known Jubilate. Then the IfalUlujak
Ghama; aad inmediately before tlie sermon i* performed Dr.
BaM*! aahtelled Anthem, ■' Lord, thuu bast been onr refuge,'*
MMIpnaifl far dda chwitjr. The CuwiatiM AntAtm coaclndei
the eareaMmy of the dajr.

The funds collected Ml Hhcae aa w i l — tat ^tpHadio appren-
tidng to useful occiipatiniia He ddldna «f weeafHom clergy-
men. The collections at the dinners ifiven .inniKilly at Mer-
chant Tailors" Hall, are appropriated to the same purpose ; the
whole of the expense* at both placet (which are necessarily con-
aklerabie) betag defrayed by the Stewards. The committee to
I the appetintandeace aad management of the charity are
haw ta rafTit that tbab fandi, Iflwnlly aa Ihej are

dt 9llMie

■r«tkra«Vrai«htWaN

>MMeiHl«rilw

At fha
At the
A»the

Total
Being a dcfldencj't
Utf . 7a. 7d.

• f 108 15
S.11 7

m 7

Tk» BMBth of lfa!f;>MWiilMllf nanth at fhe Opera, ail
M adaaw Paata, hatpo MM tte pit every evening, Aaagk A*
boxes are let, /or ready money, at low prices. The Mihaetftan
should inquire how it happens, that, while fur the wliole leaaoB
they pay the enormous sum of three hiindreri eiiineaii — thiit ia,
five guineas erery night, whether frosty iw fofpy, let the per-
formances be good or bad— others who choose their time and
open, can be aeeoataiodated in ««me of the beit boxes in the
honci at tmr, tmt neve often at iknt, guinea* a-night. Tib
it » WNMat when aneh fnaalioBa an facced on w ; we haat
leHin 0* tte adjects ui aie glad to M that an iawMffatiaB
ii nhaly to take plaee t fbr if with a eempnjp dial CMHiet get ap
cHhcr a lerioni or comic opera in a peiftal mmner, aad wWk a
htkllet thnt boa»ts but one first dancer, three hundred and fifteeB
pounds are riarteil, wh^t may he demanded if ever complete set*
of )irr 'iirmer5 in each- department are apain ciJlected toi^ethcr?

Since our former Number, Madame I';d.U ha» appeared iu
Romeo e OiutieHa, — an opera of w liirli »■<• i,'ave our opiniun on
a former OCCacioB— and performed the principal character with
the iiaiajildfeel aad feding as last season. She met however
wMt vo gnat auppart aair HI a a^aer Deitri, to whom the tenor
part wai aai^aad. aai irh* «M hq^hai at and hissed whenever
he appeared, UMMgh ha did aat aacaatal eooadoaa af the
manner in i\Uk ha waa dMafabtod. Mad, Caiaiail mhea
an interettioffMM* IhepaitisgHttb, tadwdl auttadtohar

powers.

A'l'rta has likewise been re-producnl "kli tuocett. It la
hardly possible not to he afferted hr TAsta p performance in
this — it is all nature, " f-lie <l'r* rmt rut tlic klur^n t.T — she i$
it, look* it, breathes it. She docs not study for an effect, but
•trive* to possess herself of the feeling which would dictate what
lha ia todo, aad which girea birth to the proper degree of grace,
fignhy, eaaik or farce.'' Her ato^ag b the least prominent
pattef her paffurnware ia «Ue efaralla, and. itrange aa the
aaiarBooBM7iMad.irehavehihernpcaaentatloa of iVSaaaa
iaabmee of a prhna da«M Wk isore adndred fw her iwaan
ofaettng, than for herroenllalaBt*; great, nay afaneatvariealMi
ad the latter are ai knowledged t»i be.

Sicnor Curioni a.i Limlnro is a vast support to the piece, aad
Mailanie I'asta feels the ai»i«tance which this excellent singer
and able actor lender* from the moment he come* on tb« stage.

THE JFW S HARPr
A GBRMAy, named Eulbnstrin, lately arrived in this roun-
trj, has excited tome notice by his perfi>rTOance on the Jews
Harp. This artid*. by the eierrite of much ingenuity, and
afWr long and lahaHiiai practice, ha* acquired the power of
piadaciag tartnin MNlad eflecta by the use of twelve or four«
tela of thawhaaMe iatraaMale ; play'^K * ^^^> '"^

changing them at pleasure wlA a t^pUity Inl/ artew tf ii n g. »d
^tbout any perceptible iatemptiaa of tha air.

MT^SIC MEETINGS.
Tnn Eighteenth Yorkshire Amateur Meetlogwfll hehlHhtt*

New Concert Bo.im at York, on the 'fMh And Slst of JWM.

The Dinner will take place in the Aasembly Room.

The Blninghaa OiaaiTUonfad Murfc Meeting take, place
(hia year. It i. to hi Iw dij» fii <ha Toik FialiwI, hat

yiarX and »iUbeheU«i«»«r«mil|

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THB

HARMONICO N,

Ko. XLOI., Jolt, 1896.

MEMOIR OF SIMONE MAYER.

StMONE Mayer wai born at SMderadorf, in Bavrnm,
in the rear 1760. At an early ig« he wm mdI to ttody
antic ui Italy, aad, ■incs tin jear ITts, turn aibnoat
dnlT midad in dwt eoaatinr. and laodeiaa it Iba tliaa-
taaarUabM. !■ laot. ha wm afpaiaM t> the office
«r MoMlra (V (hptUa I* damh «f Maria Maggiore,
in Bergano, in which he aaeeaadad the celebrated Carlo
Luui, an appointment that he obtoined only after a verj
Wfere contest with a nnmber of able compctitort. Born
In the country of the (rn'at Mozart, he possesses no
inconsiderable portiuu <if" hi& genius, and to the snfler
graces of the Italiuti hun.;, has nuporjulded the more solid
and ciipr(;etic harmony lA ( .eriiiiiti v.

Ill ISOJ, he proiluced his great work / }fiitfri Eleuuni,
which obtained a high reputation. In fact, this ii|>i'ra
may justly he said to have prepared ihf way for tfif' re-
t'L-jjliuri ijt MiiZiirl'.s imi-sic in IluU, ap^ruust M'fiich an
opinion provailcd tlial it was ton dilKcull for llaliaii per-
formers. In isli, the Gioianiii was [wrformed for
the first time io Italy, thouf^h executed in a Tcry imper-
fect, ine8ici«iit manner. Since that period, however, all
■the masteiwpiecei ef this illustrions composer have been
froduced on the f laliaa 8laga« aad tbefar aiarila daly fith
and appreciated.

In 1799, appeared Mayer's first comic opera, entitled
Gli OriqiruUi, since known under the title M // Fanalico
per ia Mtuica ; a production which, if it does not possesi
the hu^ eoayo ebametor whadi CinaaMaanaUiiavetBi-
pariM la it, ia atittapiaea «f aaaaidwabla aM«it,and
aieilad a vaqr livabr iataiHt in Fteis, whea the da*
raeter af the Anuttee was perfbrmed by the eeUbralad
Barilli, aad that of ^ru^ea by Madame Barilli. The
■bealiM aiti Chi dice nutl d' amore, was never nwre
^ dhc ta ally auug than by thn latter. In ISOO, appeared
the todatka, an opera of considerable power, which ob-
tained great success; and the yenr lollnwitie;, Ll- /}<ir
Gironate, a comic opera, whit^h Liis been much praibcd
ftr its spirit and vivacity.

In IS03, he paid a visit to Vienna, where he pro<iiiced
L' Eiju'noco, an opera bulTa of a very original i ast, winch
tendLil much to increase his reputation among his coun-
trymen. The .same year also appeared La Ginn ra di
Sauia, founded on the episode of Ariodante in the Or-
lando Punut ef Ariosto. This subject is of so happy a
natare, and aa veil adapted to aiaafet that it has foraied
lha lahject ef two alhar cft0 ^^mmt, I7 B«to«i mA

Mehul. That of Mayer still continoee a farorite in Italy,
and also at the theatres of Gennany, in the greater part
of which it if new eonwdered aa a stock piece. Ajnaof
the nyireai pieeea ef intateal in ihii apeni, aaiaiaara
die aMi MUftfeatar iteaan a ahafaa, aang Igr the
piooi aadaaari, la UDMi Aewba te coa na ia decpair t»
seek aa a^Iaat; and a daet between the same hero
and his mistress, by wboai be is not recoKnisal, the
visor iif his lielmct beini; closed. There is also another
.situation in lliis opera which is treated with the hand of
a great master ; Arindanle, in order to save his mistress,
is necewitatct! to fight against his own brother, to whom
ho is unknown. Ho is on the point of rooaling fiim.seH',
and demanding an amicable explanation, when the trum-
]>L't M uniis, and summons him to the combat. The
music is of the most touching iiind, and the whole scene
in the highest de-rree driimutir.

The pen of Mayi r has been very active; he has pro-
duced altogether more than lirty ii[K!raH, usually giring
from two to thrw a year, and always with more or less
success. Among them, besides the operas already men-
tioned, we may particularize the opera seria, Ateramo td
AdtlMia, produced in 1 80S, which some critics have
thought nqierlor to emy thing that has proceeded fraai
our oonpeier's pen; bnt it waa performed in Lanlon
withoat nicoeis. In I8O0, he gave the comic open
// aearfftUr d' aceto, the overture to which is a dent
iliM in tha livdj and brilliant style. Bat the
popalar af all tha opens of Mi^r is La J?an
c ia Mma raaa^ the salgeet froai lha histoiy af
the eivit van between tha hoases of York and Lancaster,
and which made its appearance in 181S. It abounds
with strikinft situation, and with mdodies of the most
pleasing kind.

The greater part of the works of Mayer were pro-
duced at Venice, and the critics have remarked, that
Ihomh several of them wen; producetl at very short in-
tervals one fniin the other, ihey are all marlii U by a dis-
tinctive character, and fli5[il.\y a surpriMn^ variety of
original matter. l (,r iiistain L-, tv%o ol' liis comjxibitiona
of the most opposite character were producc<l in the same
season, the Medea and the /.Viin ,■ the latter remarkable
for the grave and gentle pathos that hreathes tltronrhout,
and the former for ill ffiqla^ of Iho poadar anf lacN
taniUii pasaiMMi

** -lolhtBiMApAlleftf

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184

tHB HABMONICON.

his Funalico per la Miisiai. in wLioh Mndame CaUilani
was so effectiTe. His Elisn was perf'ormcil onrr here, at
a private concert, for Ambrogelti's beiufit- But it is
to Madame Pasta we aro indebted for an acquaintance
WiA fail great work, Mtdea in Corinto. Tliis opera \>os-
sesses a style peculiar to itself, partaking of the dramaiio
vigour of Gludi, and the pathos ami spirit ut Mu^jirt
BewmblanoM to.tbe latter nulerare frequently obserr-
•Ue^ tboogh thfll* ii iMthing likv leiffle iatilation ; they
are at llie «M>>t Iwt retniniscenceib wliicil became a^
wiM the anatai^f own by being monUBd into ha bwb-
ner, and interwoTen with his composition. All tkefitan
have an appropriate colooring, and nothing is dswai 4e
predominate- to the injury of the general keeping. The
quintette * at the close of the first act is the very model of
griintlpur ami simplicity. The part i?i which Medea sup-
plicates J(i>i>H, and cnderivrnirs, but in vuin, to make a
In-st impression on lii^ In Lirl, is :i vrr> striking pai^sago,
and ihe violunccUu att uiiipaiiiiiH Ul is in tlie highest degree
t'(re< tive. Hilt the triumph nt Mhmt nnd lA Madame
Pasta, is the air in vrbicb Mcdt r., placed between her two
children, passes from the mo&t lively trndnrness to a
paroxysm of fun- and vengeance. This tine performer,
to the action of Siddons, unites the Tocal powers of
Madame Calalani, with more than her expression.

Mayer and his conteapwaty, PaEr, may be regarded as
lilltag the iniernediata ipaee betwean lloBrt aM Cmmp

rosa. Their melody is, generally sneaking, leas simple
than that of the Italian masters, but their accompani-
ments are much fuller and more highly wrought. The
grade in the scde of art a^sipiied hj the French critics
to the .subject of this memoir, is betwe«i Mozart and

; Rossini, but more near to the former than the latter. Bj
the Germans, he ie e^led Ihe dtatmuJled Hosartt. Tifcr
the latter imi^ortal compowt, be -vf* with -wlirflfiig
of themeitericinalaM expredtTeUai. Whatanaleur
is anacqiaiBted with lii Ob aMOto VtatrnkV* « Gil
wdoloeiaggio:" anl "CM Tiulb Mlamsat" He
if also the aothor of seTeral charming canzonettas,
aaaBg wludi we majr particularize " Donne, 1' Amor h

, scahro pargoletto ;" and " Qtiando penso a quell' is>
taiite." He has also admirably set Metastasio's cele-
brated canzDii' ltii. " (jiri/ie all' inpanni tuoi."

Mayer has re'-ided lor many years at Uergamn, -where
he filli with honour the situation of Marstro di Capcllu ;
esteemed by all who knew him, and admired nnt loss
for his talents than for tbc rare modesty by which they
are accompanied. He is also the founder of a musical
conservatory in that city His compositions for the
church are numermis, and among others a Grand Mas*
and Vemert, composed for the festivity ot the patron
saint 6t the city in whkb he resides, is spoken of aa
almost rivalli^ the prodiMtions ef Ika wum UmI Ui

MEDEA IN CORINTO.

TllKjurcscnt drama is fonnded on the classical story of the Sorceress of Colchos. From the various materials which
the Grecian, Roman, and Frctu h stages afforded, the writer of the present drama c<illfcted his incidents and
situations, and, with but little prr-tence to originality, has produced a ItUHto, of w hich it is hot a poor complimj'nt
to say that it exceeds many uttt-mpts of this kind. The author, Rosctti, with ver\ few exceptions, has faithfully
adhered to the original story. He has inirodiifed F.ii< iis, king of Athens, as the slighte*! lover of Creuta, daughter
of Crvontes, king of Corintii, who coraus in disi^uise to the latter city, to ascertain the truth of a report which has
reached bim, that his mistress has transferred her affections to another, and that this rival is no other tnan Jason, who
Ims just returned victorious from a war against the enemies of Corinth, and who, shocked at the crimes of Medea,
determines to divorce the Sorcerm. The moment of the arrival af jEqeut is that of a notification to Medea to yield
npell claims to /oion, and retire into banishment from Corinth. Medea and jEyeus meet ; they mutually encoonflo
each other by an exposure of the wrongs they have endured, ami by the assistance of the troops of the latter, Gmii^S
forceil from ih :- aluir at the moment she is about to bestow her hand on Jason. The princeaa is, however, restored,
and ^tfeiis is iimdi- prisoner ; but he is freed from his dungeon by the magical power of Medea, The lattsr, li nste ato d
in her purpose of t caring Jcum from ber rival, now meditates plans of the deepest vengeaaoe. Bkt ssekt ael Jamnft
life; ber revenge is of a oHire KBaeddeferiptioa ; she niahee bin to Ihret aal to be wretched. Tha atetanla
OnHaa sba destroys by means of a charmed robe, and stabs ber two diOdnn, the offsprinir of her nuptials mrilh/Bisa.
TMiH^pUag in h» vkkedness, idie escapes, learing the ■* Hero of the goldea fleeea" to nd tbadrsadfal Mlh, Ihtt

*' Hell bu no fnry like a voraan sconMd.** '
The opera opens witli a very dmrai teristic air of Cntuta, — in which she reveals the melancholy forebodings of her
heart, aud her fears of being deprived of Jatan, the object of ber fond affections, — and a Chorus oi maidens, who
' rdno^ngailiid. 11ieleillfM«illaw*>--

iNTHonrcTTOV.

CaOneS. WTiciicf srr> thy fearfi ? Mrdea cajinot
Tear lliy fuiJ lover from thy amu ;
'I'he crtmM with which her loul i« itaiaed
HatetosBsslediMc
Tbs «Me ef Oreees admirss in (
United to extefwd graec^
The rentlert iaaoeenca of hMH^
Wbicn does a doable <

I^TnoDCZIo^•E.

CoROa Perrlii- tf lui - a li> ]- fiiii.inte
Imul.ir null pui'> Mclea;
Tanti ecccui ond' ella i r

ttokOseeiataKfei

Dsl'samWaiite a' vetsi I
V iMMWCasa della vita.
OeiiitaBiaUlstifiir

t nrapstoMha

.VamiaiaU.

Digitized by Google

TBB HABMONICON.

185

SofMsraipre trrenHt.
Marte, oh Dio ! ac nun MedWi

II mto b«n mi mpir^
Sol per te pu|^ii«r dovM ;

Sol p«r te triimferi.
Se mio si nerbi, «e torn* mio,

OU •fanni obMio cbe amor mi lU,

Che pi A Adani il ear am «k
Sovente un Bwtle fin^ U pmrfm

GnBo

My geniit friend*, ]
'Shed cofflfort on mr t&mwlag I
B«t Imc at every ibadonr tbA,

E»*r fnrebodinir ciHninr ill.
If iiof Mcilca, yet firrcc Mutr,

Will tear my lorer from my arine.
Tvat tulcly lor thy uke he firuf ht.

And for thy take will triumph itill.
. If itill he ^ard liii faith, retuminji: conitant,

I will fcmk the iraea love bade me Mffer :

Sut fl had |iiutfvd aa aft IboaitlUt
Thnt gcan-e lor heart dont timt H 4
Oil » 111 the iBiod pm^nd aoaw bndcd U; '
But tosMbMi. Ib^j, itMofire pravea,

' afjaf wiMnMMaipMtii.

rrfmi/ci eiilcrs, an J informs his ilaugliter of the arrival of Ja!<vi, (riurnphnnt over the enemies of Corinth ; he
also acquaints her with the delenaination fanned, that Medea should renounce the hand of Jason, and depart into
banishment. The arrifdtf /oiMilBBMaMadlBAqMtsd CilHtW*t ha otani nAghW
Um foUowing ah-: —

IN rioria alT invito tra I' ami rolai, JaiM. At glorv'i tuminons nuirk I flew in armt,

Per te »'lo puniai tel dica il tu« cor. Let tay heart tay if for thy r.tVr I fimifht.

Di floria il tenUero tu calchi priniieru, CMMVS. Glury'» proud path thou wert tlii> (ir«t to tri-ad.

Per te dr^li erni inccombe il ral or.
SpronavHiiii nil' ire 1' ainato tao namt ;

M' lU-frPhbrr 1' ardirc Imcni' ei AaUT*
8e 'iiimiitir c i^urrrirni, ciiniliiiltu CM fvl^
E vanu per noi nemico furur.

Before thy power have mighty )ierne« fallen.
Jianr* 'Twa« thy loved nanic that Tired ine in the fiicbt ;

Hymen and Love inipired my «uul with ardour.
Warrior and lover, when I tight with you.
Vain i« the fury of the baugfhty foe.

The next scene introduces us to Medea ; she ent<;r$ with a Imrriad step, overcome with |;ri<-f and iuili|i;nation. Ja-
ton has retomed, bat ba« not baatened to great his Medea. A presentiment of her destiny flashes on her mind, which
is almost imtaatly emfmiad bur the antranoe of a chorus of the inhabitants of Corinth, who aaaoonce to her that
itisdalfliidMd riwih«riiqpUtkedt]rMbntbed«aa«rdnri that nwhklhairittaraHiNlci^ and that 7ajm has

<M«ei the cKtaafty of lha M
•ad he has not resolvtion to anooaitertei hat har mlebful eye ha«.MM

Itait
UihMrtfidbUa,

Um to atop. A scene of bitter espostolaiioii

'of thn juslicf? and necessity of the measures

L aniiir df' fiyli—

La vita tiiA— dell imor mio la TOCO

at sight of her
. and she earn-

Wn endeaTOun to justify his eondact, and penaade

11 aacrifizio estremo chiedono a ncri.
lo ateato, emalfc hngi M aaol natlo.
(%e iperar poiM? eht nl icsta?— Mania.

lol

— — Ttif line thou be.'ir st thy children— '

Tliv lifi--- til'- iiiii-e iif iriy nwri li'TK iir — all

DemaoJ from ua tliit Inat Krcat sairidce.

A tnadaMT froB air aattw kad afar,

Whathapa? whatjatiinaifaisMme?— UaosA. Myielff

OlASOXB,

Maaaa.

Masaa.

Jaion.
MasBA.

mi it the Medea nmerest of Seneca, and the Mci af CSonittlle ; and it is iamoaaible not to ramark here the sublime
which MadaawTMa iaparta lo lUa tMiag paMgew Then foUaws na edabratad daet hetween Jnm and
«hiehli«na«r Aa " -

Cadial
Coalnill

PufpiBT eon Itti
E t« pertl«iti e mt.
Era Medea, lo lai,
Del iuo destin mafgioiai
BarbaroT oh Dio I mi acre
Si fece »ol per te.
Vinci te ateita. e qiieHto

Sari mafi^iiii ium v.mtab
EAi « Tirtu d iocatito

Chi seal aasaraMTr*.
{OaiaiiitBdaaaliaa,
Daataltedaatimai?
M/ tmfia, che tanto aauil,
Tutto teordar mi f%.)
(O jiriica rirtttde aaticM,
Non ti trertiar giaamalt
Penaa o rolu cor, chafeMd
Colpevnle ti f^!)
Mira,— oh L)i»!— Mf dc* ti pregat
Verw pianto a piedi tiioi.

verw pianto a piedi tuot.
Ah I siaM. da aM die nnif
NaaiifeaMala|i«A.

Jm.

TMdtaf
tanial

Thou halt attaipted to <

And ruin'd both thyself I

Thou knoweat that Medea i power
Wa« more than tantaaiotint to flite.

Ye Godn ! barbarian I 'twai for tliee
I did that iniifhty puwer forc|fo.
Conquer thynclf, anil that ihall be.

Of all thy triuniphi, far the pirealctt.
There is nu ticrb, no «pell hath virtue.

To heal the wound* that lore inflict*.
(Oh thou, the ancient power onee mine,
Alw wldlhar kast thou flad ?
Hw tnsldi whom I so foodlr lofsd
Ua caasad ne to feffct te uL
Oh lhaa, ai^ hoeaafa miMr isoM.
No awaken itt th!« hrex't ;
Reflect, my heart, tlmt tlicu halt knoWB
Too murh, ala«, of fiilt iilready!)
Beholil, — .ill htrivcnsl — Mnlrn docs implore i

I'ourini; tier hitter sorroivs at thy feet. . ;
Aht cruel one! my, what iroiildat thou with Bit
Will not the aguiay i feel tuAloe thee t

V 9

Digitized by Google

180

THE HARIIONICON. •

Mm.

GlA.

Mid.

GlA.

Ou.

bfltrotbed

Voflio il cor« — utior yogV ii). Mw.

All r r iivT'li uri di til iiila, Jas.

I';irla : ili i i ■- ' i lii » me I' inrula? M«D.

l.:> uul llf^l•^^ • i. — MgD. VftDoe! Jab.

Senti. — Men. Nm t atcaJto. Jai.

(Qiiai furor tc appiirc in rolto!) Jai.

Trau I— OiA. CeiM i^u. M cH-MMf Man.

Un «i«9«tto d' cnipiatl. JtM.

r ioredelti. Mma.
( Strombri amor ; da me t'lMlldi^

Si cimfonda un empiocorv;

Si rcspiri omai furore

K vrndcita c crudfltA.)

(Scombri araor ; da lei t nucoodK; Jai.

Si ronfunda un cmiiiu core ;

(lir rcspira «ol furore,

K vendetta e cnidcltil.)

, Ai^'iu, king of Athens, to whom Crcusa had be«n
il to be awried to Ja»n. He iBmedwtely makm

Ah no ; I d.iiiii tli v heart — I claim thy lore.

All, thiHi wi'll i>n»w'at it oooe ira* wholijr thios.

All. i>|>rak ; «li liravcnsl irhu hai ttalcB itftwiMf

A fell necesiity. — Mbd. Hence, traitor!

Hear DC. — U bd. I'm deaf to thy entrcaliei.
^ mt riiiof fury •parUet ia ber eye I)
■Uc I— Ja*. Hold i— MsD. KhMMAm HtMlt

Ym, tbM*rt an objaet of mjt ban«r.

Tkj Infidelity I ret will paniah.
(Away with lore ! let it not move me more {

Conrutiun light upon hi« impioui heaitt

neneefurth let nie lireathc nuii^ht elte

But venir''»'ice. hatr, nnd cruelty.)
witli I. .VI-! liiilr it for ever;

Confutiun liglit upon her impiuut heail;

Winch now breiitiirR nothing b<it I

But fury, hate, and cruelty.)

In marriage, arriTet, and
» with iMeot and llie^

Ibat hk.

caw away, and canying

•f ItnaUnc in upon the nui _ . _ _ ^

•d, vUdi M tlw Mat clbcHvc part af the vbala onam. ~ An illar il

a clmttit of prieatt and maMeni ihig ttaftttaariag hatntiM cbonn (the uoiie or whkh ia pqUidwd in oar
; nnmber •) :

Dolce furliiKi) d' Uranin,
Cuttode d' Eliconiil
Che fai di renJe amaraco
Al biurtdo crin i mil—
Strinin, propizk> Imo*,
Le tenere catena
E arrida alt' opra aaiar.

Viltiine a te ti iTenano ;
Inc«n«o a te Hi ipande.
A ta, fran Diol •' inttwoaa

Dewend, Uranla'i fcntle »on,
TIhui truarliiin nf Helicon,
AVhute auburn liKkn ware uncanfin'd^
Witli amaniDtliiDe wraadM aaMria'^.
Hymen, let our prayna BM«a Hm^
Cement the hrartf that love tbee }
Lore ahall (mile aoft titt while.

Vktimi on thy taered dtar Ut,
Cloadt of perfiinw ahaU waft aa high.
T« ihM. aoft Fowar, «« i

CreoiUcs enters, learling in his daughter, folio
mix uQobaerved amidst the attendants. A« it
iba adnrimble unity that

wed by Jason, and on each sidn of the temple Mfidca aiu! J'geHg
ia impossible to separati- any parts of this finale, without de&tiuyin|^
" precaat it to the reader entire : —

GlA.

Caaok

Par.

Cars ficlia ! prenee amato !
Pari al roitro i II miu diletto:
Mis oftenfa il vottro affetta
iS'clla mill I'.'Klente el4.
Per mc scrbi ii rur tli padre:
Ah I lirnor io serin ofnorfc
Come nj;lio il padre udura,
Senpre il cur t' adoreri.
OaroButorde' irinmi mieil
Otggio a ie ti dolee iataatei
Fra te aempre e 11 Mo aowBla
Sol diriao U cor lari.
(PIA firenani a quelf aipetto^
Nnn puA 1° alma inurridtta:
(iiiiiti Dei! nnn »ia i
Co»i nera infedeiti !)
Imene, ah tu del friuvina

Compi i deairi oatai.
La Mlpitante rer^pne
luaatpiialo astai.

Cnaa.

Cnao.

PniMT.

Cm.

h» toaere eateiw,

JB arrida all' opnt Amur.

Ql I.NTETTO.
Ahl ae nunr.i ,v tc di fnle,
Sa ai' accewlo ad aJtri rai*

CoaaaiBasNaftL

Pora tia la rodra ttl».
Come too dd gioiaa I nl ;

JlMtCna.

Oh, deare*t daujrhter! prince bdored I

My jiij ia rapCuruui as thy own;

Tiiy wanii alfnctiim is the stay

Ol Tuy 'li-rlinin!^ ai^r.
Fur iiif thcu I licrishLkt a fiilhrr'n heart;

Ah. Sir, still in.-n ^^ liiiiii riieritbit.

Ab a fund »uii bit lathi r U>\ t$,

Thm erer will ny heart luve thse.
Ok, deareat author of my davt t

To thee I owe this Inxir or bliss ;

Between thee and my falthfal spoasa

Shall this fond heart be ihared alana.
.(At such » tiKht my burstiofr loal

No longer can rettrain itaelf:

Joat Ood« ! let not such perfidy

Pa*a off triumphant (till?)
Propitioui Hymen ! ronie and croWB

The wiali of a fond lovcr'» heart.
Ah, lonr rnouf^ has the fund maid

Sich'd fur this wiih'd-for hour of btias.
MaBi en prapmaaa sajfawiv aiaa

TwagBBtle hearts ialiiy I '

Aad amy Lore smila i

QUINTBT.

Ah ! if I fail in Utfa to thai^
If I admit another flame.
Ne'er let this bouini tiistc n^ain
The sweets of joy and bappiaeni.

Oh. aay your (kith be pure and Inight

la km '^J^^^^H^'^.

Digitizca by Gt.

THE HARMONICON.

! ocnnr d' iilMMi
E non priirino (inait
Com (m teneriti.)
Scciuti, Imcne ; in piA b«l fpomo
NiM Memfeirti mai di qaestu.
fMmln Cr^tmlt eaw J i m i Ot a iam * *Crtmuaifarm,MtJtafiBmti
ttprnifiita mU» nidnt m a, Unrnt Ua , pmuUmmfif la
Mttf ilfira. /n tfuttto wtamemlo, ■■ mottrtfm* frjpwj
HfJK Vanoc » terrm alur fuoMUi ! —

Empi ! oirnnn tr«in«r dorrl.
Ah!

Al rito infamc, o ptrMi,*
Piillida e fim-* tplerKls
I>elle (pietate Enmenide
Solo la f»ce urrtixla :
Tultu r Af erao vendichi

L(Oh hexvi-ng ! may that nuptial I
Shal riHinii » dark and baioAilny,
ry nerer imam tm hMT

Of }oj or bappineu.)
tljmea desceiiJ, for atitr didit 1
B1m« a day more fair than thb.
{4t lt» wtamtml Cnofitu Uadt Jatamaiid Cnuta to ihe <U-
AVk WmIm ru$kn /WwKtiy m, brandmUng a ttnh ttUdlf/,
ami cttrtMnim Um eUlor.)

OoWG to the earth, tliou bated altar!—
Wrctchea. learn to tremble before mc.
O m m^ try. Ah I

llflBa Perfidious onrji, upon thi* hated rite

Palp .ind luriif rii.iv thi- tuit li
Of the rclcntif sb Turu':. s,'Urc,
Scattering liorr ir -mvK <]ihiiiay t
RoUM up. Oh Hell, drcuce

AUk ThttMiflaiiMMl

>«laka*qr«riMMr(lilit
MlBk JDw>(8e«, Indton, Mt to wImI a itate

I am reduced thrMifrh lore of vnu ;

Turn to ^amti, and thou wilt &od
g;}rai;tiW«aMd,"2}

J!M.CIUIh Woithr of jrou the lot jrou bear,

Awl wwthjr of jrour borrid deed*.

Vit ^ «r smo^ m ttrpnto?

CmtaniMttt i il terapiof

Che g-iornii! nh r)fi! che OOWl

Maoi EOB, liira inbl ^ | a t{uale itato

Sol per le ridott ]| I io MM
111° I ritoma, e ti perdMw;

Lrra mia >i pUchrri.
QiAa Ou* D' t<! dcj;n» i' quckto ntxtii.

Come degDc I'upre *ono,

Aceordar mi raoi pa4ow}

GMadi w Tan a ma piatA.
Cm** <|li^^aalal^aqllaleftato

Par calai tidutto io aaaol)

Ah? nan aiarilft pai '

Tant' oltrngrS** <
Mrd. Eoo. Dunquc ririm, e Tuoi

C"!ii[iirc ii triidiiiicntof
OlA, Caa. Lasrinini, rii!;!;i, i>;,rirrtto

Sci d" o ilio e di «paviTito.
liBlk (*<i Bgeo con intcUigenxa.J Preoca t

Tarn. MieilHi. uUI

CAUav«€*d'B9to, tieono giirrrirri Attnitntl,

Okucm* « CrtoHU / Mtdta id Bgt9 fim faJy tni m mt
di Cmaa.

llHhBu* (AiOntrritri.) Condticete aHe nari eoitei—
(A Creuta.J VIeni. iorano fugpnni Tocmti—
(A Ol&tmtJ Trrrna, n i-ile I'-^A apaaa wtB kL .
fj Omutt^ Re tper^iurok Ulffafafdarit

E-i>iapreda;;;!*|ipo«iBar4.

i>Cm.Ou> Qiial infanno! rhe perfidit — oh Dei!

Dovi un ferro— tu inrano m' arrctti—

Vufgi—lmmam—9 ipaa°}«fa aai?

Flnehe ipiito dl vfta wA rHU

^aelU l^"'"
Boreiciato i ^ altar decrli Dei—

Perclit, o delo, i luoi fulmini arrMtit
Ah ! fujrifiamo il furor di coatei —
Re u)ietato ! tremare dorr ertl '» {tt
VaadicKto t altfaffio tar*.

In Ibe openine of ibe Meond Mt, wa iad Omm TCttond to ber boM ud her father, and JEgaa a

^- - hrt flkd wilb madMj al Uitag ihM Jam it

Ala*. I left idth torron-

Tha hooM that gmT« me birth
ABdaMrsfthtMilMMM
To had fu aaehJoNd haaHh.

Bat BMr It it not ^ren me

■aeb fentle tean to ihed.
Vbr deeper friafs ar« mmtk • '
All fbmer joja aaa iA

itter aiit aieivj^n fctutn*

(TWh'vId, oh heaven* ! to what a
I iim reduced for take of hCffO
Such outrafc, *uch impietj.
Are far too freat to hope for pardon.
iSiV. JEoK.Knd doot thou then refuae, and thall
Thy periidy ronic utT triiiiri[ili;iiil ?
Jar. Cruu. Lesvr hip, avv.tv ; tli'iu iirt nbjpct

At iiiU L- of liiitrr-il niid -.f dread.
Mao. (Sirnijieantly to /i-'irruij I'rince!
Hot there, my faitbtul frienda !
(Al thr Mier of .Sgrm, a band of Atk mU m
in. and tumund Jatn and Cr tmHti l MulMk MmI
ttiM upon Cmuo.)
Mao.iEoa^to (Ae If'arriort.) Bear her to our resselt.
(To Crttua,} Come, rain are all attempta to fly—
fT»Jm$m.J TtwaUe, thoa vnlchl thaaaitnoaaraa
fIV Omiau.J Cm, pwjawd Mar, flwa l a| l tfc y fcaa hl a r l aa t .

Anil this my priae alwll be ™^ bride, »

Caao. What trr.nhery this! perMiout ones ! oh, God*!
CkB. Jail tiire me a award- in vain do you withbukl me.

Fly hence — away — belo»ed, where art thoa ?
launj^ a* one brc»th of \i(r reiriRins,

1 hand ahall ne er be thine.

CaOKOa. The altar of the Gods Ilea orerthnnnii--

Ah why. oh hearrn, dott thou wHUmU ttfMl*?

Ah, let UK fl» und 'nr^fie hi* fury-
Tielpnll«v« kin!,' ! ri<.»' l<'^rntotremble.(njB'f*ltt.
'i'hia uutnife yet (bail be avca^cd.

The fHrmer is all rapture at regainiqy Am •had* «f
■M relamed ; theae feelings are ezprelMd fa iht ikt

Io ti laacini pi;inxendo,
Caro d'amur a(^^|(iamo ;

Qaatr anre a retpHmr.
Ma pianto, i<h Did. non lict^

Dolee «er*ar qual pria,
Qarlliid'aaaarMiaab
iddagMa.

Digitized by Google

TBB HABMPNICQK.

The next scenp is a <iublcrraii(?an cavern, where an alt&r is jirepureil, and Medea, ia her proper chameter M a
Sorceress, is beginnine her inrantation. The object ia to summuu the iiiCornal jxiwers to aid her in charminn; and
imbuing with poison tnc splendid robe that she received from .hisfJi un the day <>l hrr nuptials, and which t.hc iii-
a fatal present to Creusa. Media afpnachtt (he altar, kindles (ire upn it, describes a circle with
I wand, and thus begins Uie spell

Thofl tncirnt Ni^ht, aod Tutatut profaui^
'I'huu aw'liil Hecate, re noumful Snadel^
Yc Furin, ye vrito <<t the infem*] raatni
Sit u the kcrpeni, artncd with icrpealidin^

Aiitiea notte, Tartaro nrofomjo,
Ecate tpaTentota, OmW dolenti,
O Farie. rui cbe del perduto raoado
Sitte alle purte, annate di ferpentf^

A me venite dai^i Stifrj chiottri,
Perqaeito {t<co, p«r i patti noMri.
{Sttie rumor totU'rrmn\ iniisin iMto pr » tfW— dtlU Omttt.

AkI A

Gii vi senlu ; si »i'u<>t« la terra: io
OU dl Orbeiw a«colto i latrati—

Mbd.
Coao.

Odo U nmbo dc' vaan! agi taa ■
V«l OiAn priU£k ami
Cm MttmaiM*. FmtliA b taa voce MHmm;

Achemnte vueaniino per te.
{Medea tpiega la rette « la <
QueOa tpofrlia a vA eoMCfM,
Sia ttromnto di tMdaNat

Lo aari\ !
Mora lei, per cui 1' indt^no
Mio coii»orte mi rigctta.
Morirft!

Del Coaiieo iparfctela de* *erpi d' Alettoy
n aadla cka rodoBo r Intidia. a aaq^MI*;
lalanl riitetw veleoo di NfiML
Smm. cmT EhHile nir Cli4 aM,
Com. Wpeiataalaila; laipcBilacait.

From thi§ aoene of fcym>r> the tranaition is delightful
console ber for the pann of absence, and wbete tbqr renew their ■ataal tows, which fo
the sweetest duets of tbo whole opera, mi vkich CWM dooMj gntaUl to 111* WV H

and the awful of the preceding scene-

CoRO.

Hie hither from the 8lv|piin ibodei,
Bjr thli came fire, and ur our uilcmii compact.
( A tHbterraiieaH lound ii hear J, ih'r rign of the prttmce Ikt ^fMU.
Am

Mao. 1 heir you now ; earth trrniblesi — \vnrk f
I bear the fearful yell of Certxrui—
I hear the rashior of yonr iniglitjr pinions—
Uther, ]w fhwl^ thMet, ye come!
S iMtrmua m Ckutumr vofce has pierced the deep abyss ;

We hnre pasfi'd dread AcheiW !• Wait tlw will.

(V.d^a 'P^f'^ Aerrelaaiilejkslqf Madtar.

Mf:n. Thil v<'») (If I <-<intifB UfJVt,

Be it an inttrucacataf TCBgnaatt

Cuoaus. It uliiill be no !

NW. Yt*. I<'t lii'r 'Iir>. f.jr wJniiii til) fiiitiilcss comoft

Has thus abandoned oie a wretch furlum.
Ckobos. She shall die !

Mao. On It the fcnom pear of dire EkCtra's laakei^

OTttoii llatgiaw (he bseast ef Bavr and TTiiMhiiMiB
IbftattttaowttNctsnrdimtnei^: * "

C^Hnnrt* Kal)r vMi oonMsnce ; jmrwIB AiBm AsyuiL

to Cretuafthv^nr of love, where Jatm has returned to

forms the anigect of one of

Ou.

Csa.

Duetto.
Mon palpitar, iiiia vita;
Turiii M'ri-rui il i :

St retta akun periglio>
Fari spaiirlo ai
Sol £ timore an*

OraUtii

Spaiboe il mio tanor.
Sam' and oh Dio! te t'

Sarento fellee SMii !
tBe altro uttenere in io bramo

Che il tuo bel cor, lo sai^
Priadi ccaaar d' aniarti,

Tu mi vcdrai spirar.
«. S.

Ah I st caro e doke aceanto*
Mi ripeti, o niiotesoro.
Si, totsde l i . lesentei
TnaTadari? Iot*atoaf
Mafamich'ofaii

DUKT.

JAS. Banibh ahrms, my life, mr loTe|
Let thine ejc beam witli joy a|
jf any danger yet remain,
ore shall wue it far awar.

Cmv* Twas but a paesiaa shade of for

That Uirew its chiU npon this hisrt I
Bat now, belored, whim near to ftm.
All dmibt* and terrort ditappaac*

J)|ga If mutual our lore, how ble«t
Our davi shall glide alonr !

CbM> PloaseaBin/^ thut dear heart uf thine.

Thou knuw'^t 1 have no wish hoside.

Jaa» Sooner (liin ciMsr to lnvc tlice, thou
ShuuJdit Kc me breathe ray laiit.
«. &

Oh. heiw sweet each fond esprctsioa.
Oh, how dear the Said's confiMaiaal
Yes, I see it — yes, I hear it :
Dost thou love ms ? Tes, I lera thsa«
Oh, that erery passanf maoMnt
Thuu wouldst still icpiMk it ai'er.

itaij expactathm ef ■ ae lln g the

Lo tosaasai a laplisar.

The nest scena transports is to dM prim of ,£anu, who If in _ ^

his daring attempt had merited. A pale gleaming light strikes on his eye from the extremihr of his dungeon ;
he ibinJu it the executioner, but it is Medea, who ia come to treleaae him bjr ber power, before which the bolts

■ieoiis give way ! TUl k • kl^igj lilHliM fv tlw Itop^^

Duetto. Duut.

Ah t d' UQ alma fifeoerosa lIlB, Ah ! ho«- dclli;hlfu[ nn- tbo ai ri-nt.f, .

Quantu alleltami g!l accentil The dietati s of s i,'r~!u rons loNirt I

Ala t atfri'tt.^ ( hr i nooaBll haste, for i-ivilt the iiiooiiMitx fly,

SoQu cari ooiai per t« t And, sll, huw dear arc they lu thee i

Naldnteaito, ilsaniruF mio ' Aoi* In jpril's Aercett boar, I'd poor
PartoBstoioverserei:
trial hsKaoaaaitad

Mas.

it^ blood how joyfully for thee.
Mar ftr ao dear a gift AoaU I

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THE HARMONICON.

139

Mmo.

Prenee, drh I U puso affretu ;

TiaraikriltvtMii.
Ahl toeohvmdHIk

IHrider hnmm H eoc.
In *u pel traditora

Nel acn roi pmrte amiM.
Di odrirno e di fnroM

Or Mil t' arTanipl il cor.
Dove un toare tenero ardnre •,
Di licta sppmc p.isrevii il eONb
Sul la renilctt I i r il ■ rrniar.
Trcmi qm-li' i:ii;ratai

DcUa :uv.;u

Sd«pio M'litir la voce ;
Intr«pida \ io U Tcdri \

Mbo. Prince, ahl hacten, hence awa<

Intrepido

teTedmlj

Fain wMli iMi taPBlnr tauk wiak «

The itti of wrath aad TCnmaoce rinitt
Vainly wmM Iot« within my bNrt

Plead loudlf for the Iraltnr 11111.
With aii|i;er and disdain alone ^

That mjuted heart of thine thould btm.
When once the loft and fu«lerin)tr flame

Of liope nlune my hoiom warnicd,

Alniic li t re nj^eauce hold her reign.
All. trrrnlilr that iin^teful toul I

Hrnccforlli will I be deaf

To pitjr'a gmiie voice,

ahSuIoa } I*'*-

jleiitly iiitempted, are perfurmcd in Ihs

MeaawUle tfa* nuptial rite*, which had been so suddenly and s . . .

MdaM of Onwtel, and Jason is united to the lejoidng, but ill-Cated Ci etua. He enters in tbe fi^wmg i
mU of rapton nt the bnpnj desUny that had united him to tbe fairest and the noblest of tbe maidens of Attica :
he fa eloquent in praise ottbe charm of hialovdv bride, and ~
gift by ttte appeased Medea had lest to her oianns. He exdaiBa in a traniport of joy :

— • Eccomi al col

D' ogni contrnto raiu ! Gioira in
OraiilaieiaMcdea. Virtik,
Cio che U aioiMio apttrena,
ir « dale possadan la M «ho I
Or dd Ha che ■>> la mil a mio taaon 7

Bebold me at (do bright

Of all inv heart coiiM wish \ Mnlea t>K>
Appeatr^, leaves nic in [>rare. Virtue and

All the world prixea at of highest worth,
!• given me t« poiaiat in bar 1 )•»•
Then say, whalBotraarobmsofmytTeaamf

At this moment his atteiidautii

Lurry in to inform bim that
tha mhappy Ormn

bat a dead of foal lieadiefy has be«n done ; that inuae-
bad been aeiaed with the panga of de&lb, and that abs waa
Hkmd ab, Mika tUa alttatloB, ia wUck the kMl d

diately on retiriox to her aoartmentt tha imh
then expiring. A shoft, etl»ae l wil l ie , lad

is visible.

Aria.

Oliinic !— Stelle ! — che aento ? —
Qunl fulininc siil rur dal del mi piomlw !
L'Klmii a^itntH in seno da fieroooloR^
Tutt.i 1(1.1 ilib.Tiiiluiio al I
Snvtrrita ijuest' alma
Fra idcg^nn e dulore,
Non rive, nan more>
Fia mUla tmHoti,
IN •nrla apiecala
Di mnrte criijcle.

The followinp sm\r ni;ain brings us to Medea, who hurries in with her two children. She is in a delirium of
horrid joy ; she hns hcnnl Crcum't expiring groan, and witnessed the agony of Jason ; but she declares that she baa
bitterer tears in slorp, and that her thirst for vengeaaoe* So far from being satiated, does but litirii the more intensely.
Meantime, the voices of the solili<;rs and others, win are ia search of her, to drag her to puni.-.lim<>nt, are heard ap-
pcoacbin^: in a frenzy of rage, she draws her dagger, and rnahea apoa her children. But suddenly the mother
awakcsu in her heart ; she stop.<i, and cuvcrs her face with lier banda. Tbo attendant, observing her emotion, bringa
Imt two eUldna to ber side, whose iaiploring looks and innooent embraces succeed in quite melting her maternal
IniiL No ailnation could be imagfaiid more efhetnal fiir eaUing into action all tbe eaeigies and all tbe ■enaibilitiea
oraeoavoaariaadtbeariairhieheoBeiiafUBalaee ahetwt IfajwtebagiitediAthA biibeeldecna irilhalllhe
Ibe aeUime and Ihepatbetfe.

Air.

Ah me ! — ye Powcra — what do I hear ?

What thunderbolt from heaven falls on my h^ltl
My soul is )i.-irr(nvr<l by distracting glMt
And to itn uri-fl' iiiiiii' fury yields, ' '

Rent is my ^oii] by grief

And bitter inriiifnatioD,

It lives not, it diet Dot, >

Midst «e IhoBSHMl twBMata

WMeh pMkas lala hillels.

Than death more cruel far.

Ma*.

Aria.

Ahl che tento? dh fic^li raieit
Mi rendete il langue niiu ;
Qaailo sol vtnar voci'io,
_C^«ldisdeHlraiiit«r7
MmleiriBclldsgttlM

Ahl eheftsuN^ehlgtimM,

La natur*. e ^^e amor!
Miseri parfoletii.

Ah. che innnrenti slele !—
Milic roritrari affetti
Denlri) il min cnr moTSlat-^
Venite al ten inatemo
' Ad ottener pieta.

Air,

Mis. What am I dmng / «h tny chikbcal
Restore to nn- tbi- blixKlI fafi}
I would ihed tliat ainne
You to Ibe traitor owe.
Foieuwithim Let her die I and thtt* appease
- TtheMaT

Haaw

The

Myahifi

ReooiU, and love returns I
Poor helpless innorrnts.
With looks bow mikl, how ini
A thousand atnifKlinir panga '
You waken in ny beax t.—
Oame to your mother i beeaa^
Aad tad s«A pity tkere.

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140

THE HABMGNIOON.

All! no; fupptc— un Din
In Toi m' aildils it p;>:lrc — •
Pill spo^a ni>n son io ,*
lo Don vi >on piu mjulre ;
L1iiiUi!|a4all'«mM
CmrtimMmih.
Con di dtntro. II raeritats pin

Ella ineaatnurdoni.
Mu» Ah ! dep^pio iTenarli— •
E il core i rnmnoMO {

10 brnmu mlrnrli— -
Salnirli nun posio.
Amor mi retira —
Mi ktihiiila I'ira —

11 loco d' Arerno
Anleitdo mi rm.

Omdidentr». S' iiucrua U peHbU,
TMttftoMI
CMiiimiiMMtemi*
EcnHailflmn—
Riialriti. • cm.
Pill tempo Don r' ha.

All, no ! — awijr — • God
Pointi out roar fatlier in jmu Cnliii
I Ma no more a wife ;
I am no more a iDothier:
It il that wntaii'a cnitltf
That bida nw that b« «nnl to jvu
Okm mmU Um, The puoiihaMt her a '
All. kther ■■dcrfo!
Mghll t» tlay them—
Bm mj keart m i^firct ■■ {
I fain truiiM th em i
lint llItl^t Hot, <annot.
I^ivc Muvi 111* hand—

U'ratli -|iiir* IIIB 00—
Tlw lir.- ..f Hrll
CoDiamet mj heart
Punu« the traitreu.
Let her perith !
Ercnr thUtf conspire* aj^aioit
I feel my ra^e inrre«ig
Reioirr, my heart, at
Thrrf is no longer time.

Thus savini;. slic rushes infurinted out, dragging her children with ber, and accoinplishea her horrid fmfont.
Now follows the fi!ial(-. At t]ii< ni inrnt has executed the Mft dnidfnl fWC Ol W nvof*, /MM«tfM|

attended by Crcmics, and is met jEgetu with hit followers.

Bm> Duv'£ Medea? Guardattri
Da inrnidelire in lei ;
Empj '. mi «oli i rci
Siete di tanti orror.
*tSu> GliL Non iiiiultarini, o peHido ;

Mi retta il brandn ancora.
■EoR. Vira Medea l—OU Altri. Nflb
Mio. Vili 1 tremate ancor.

Colp* • ponir roa^ |^r«
In me ti TCateti.

Preaentimeato orrilnle !

I fifli miei — rispoiidi —
Paris— ore lono ?— Mu«

Oh Dio!— MgD. Soperi ,
Ecco lo pugtial ! — ntpprciM

II aanirue luo vi sta.

Mta. When* b Medea r ah, bemie

Hwaoflit ai^aintt her you attempt I
WRttbe*. 'til yoti alone are guilty
Of theie acriiimiUli>il Imrrom.
CbB.J!u. Traitor, intuit nn tti'U iii> mnr'';

To me the awnrd as yet rrmsins.
Mr.st. Irf)D!f lire Medea <.— Tkr Heit. No, let
Mbo. Ye wTBtchei : learn to tremble tUJJ

m /mmm.) IiMk boldly in my Ami

'Om. '

Tom.

Med.
Mao.

QiA.

Rnta ! a&Qo ti niefhi In terra,

Ne X'rrn'i ti tplrmla un Mtl florae^
E le Furie ti vc njano intornOi
Che nel »eno mi vcdi rrfnar.
Ah! li fujrra Hi h.irbara terra,

Queata c aol delle Furic sof^iornOk
Lo aquallor che nii redo d intonio
II mill cii.'liu mm retire a iiiir.ir.
Ti tnalanci, ed inghiottimi, o terra I
AoboriMo la vita e il f iorno ;
De' miei fif li odo i nmiti intaraot
Vm qnet aaorae ul core a pionlMr*
Oii d Miiote, tretna fat tern ;
Dense tenebre ofutcano il giomo;
Romorej^inano I fuluiini itttorno—
Ah ! roroincia un incendin a acofqpiar.
^ti fimoM eireondano la tetik ; TvUiin
Rgro. .Vfleti r/oJoKu JeUo tfetlaeoht
Bf inv : iinn cimsortp;
Fill ntm it reita uo ficlio;
Ed air isfuiito enftio
Tek Medea coal.

Tvtn. CletHMldilMtehelaltoi

rnal, ihoH cnmn traitor, 1
Mark me: a crime of deeper d|v

Id inc thou hast to punish jpet.

Ah, horrible prctentinient !

HTiere are my < liijlren— tell mc where—

S|ieak — annvri'r mi'— >:>y, where an thqr?
Tliey ari- at ri'si — J»». (Mi, heaveoil
Tht'v dli'i'p H sleep priifound.

Behold the poniard ! — them.

Take back the blood that's thine.
Oh berbareof, oh wretched aMherl

Oh noMMr of impiety !
(.4 ttmptH bef^. vchith ragt* tdlK iarnMifiy Jhry Ml

the end of Ihe Jrapta.
Mark lue ! — may earth di~ny thee an asyluia.

Never let day maile nii tlirr placid more;

Thy ftxilslepK iii;«y tlii> u'liL'cfii! Kuriei '

Th<H>e Furii-N lli.it mm' rrml .Mrdra't heirti
Ah ! let iig fly tins li.ij-lsiruiis land.

It is the Fiirii-H tell nhmie ;

The horrors jriitlierinj tliick around,

Quite overpower my startled sense.
Earth, rawn in pity and iogulph me ;

At UA I akheii. and I ktatbe iM^ I

I hear Ae wailinjcs of my failbit childn^

Their blood sit* heavy on atr mmI.
Earth moves, and rock* the solid rniani|

Thirk darknett veiU the face of daTf

Deep ihiinilcrt r»ll and lightnings Uiht

Wliirlvt'iiiiii lit' llaim wrap all arottnda
(TA* ti-rnr It rnrelojjrd m flatne ; all it
jEj/rui arui .tfiiZra rn/oy the tpectaeU.

Behold ! thou hatt no cousort now.
Nor does one child remain to bim thee ;
Brholdl '• I ihm Midee Met.
Ber unjust cslielimAm* •

OadeiVhetftteiMi ■hrttoiMoat
Oh, d»r or WMi ar bMtar, >ni«MVf

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.TBB HARMONICOlf;

lUbieto of WUhtfa 0hmn.

ObbmS, *r Iht Eut KtMO't Oatr, a itamantic and Faiiy
. OffUAt «i prrformttLiU tkt Thtatn CSt«MMtar*
' imt ^ i)«elrji hf J. PfcAWCaa. Bm|. ; empntd and
. mrrmnged fir th» Pui««-F«»tk, >jr CtRt. Maria ran
WiMR. (WAA and Have*. 840, Regtnt-ttretl.)

Tbe recent RBd Nemalim fhatli of Ike composer of this

opern, Rttended by drcnmstnnces that tinged with a
deeper hne tbe melancholy feelin(^s which the simple
<!Tent MAS in itself calculated to inspire, would have gone
far towards divesting criticism of its privily to censure,
had even an ctccasion boiMi ofTi-red. W'n freely confess
our fear thai we niiwht have l>r->n led involutilarily to
discliari;e it) a very imperfect inaimcT ihv duty imp' m.i]
on us, hail th!> prc-ent work shewn thnt the incmnl poMcrs
of its Com[> ' r li lined with his (tn<Uly slrciigth — that
his genius and health liad siinullaneously rcceiveid a shock,
and decayed together. I'or, assuredly, \vn could not have
brouf;ht ourselves to aggravate the suffering* of a wife and
family, to whom was denie<l the Mtd eoMolation of dosing
• buiband's and a parent's ojci, by «]ipooinf tb* enwR

Adigio, epp. ^

fzMr^ — ^ i f^-.-

of abislpradnction,or the feebleness nf a dyingeflbrt. It
win bowcver niUgftle the grief of M. loo Wdier's idb*
tim, anl ssfloi tbe regret of his flrienda, to idbct* dM
tbe kteat of bis worits will ao( din the loMte of Mural*
eemed repiletiaa— thai it has eiraedy added « kHMl to
his wreath, and will diwtly, when its beatMka are bjr
time and acqnaiiitanee fartber dereloped, exalt his fine
far beyond the point it has yet reached, and prove that his
imagination was fresh andTigorous while his mortal frame
uas ndvniieiiij; by hasty strides towards its final dis-oltiiion.

The music ofOuEiiox consists of twenty-four pieces,
including the overture, all of which we shall notice ac-
rortlinp; lo llieir order, ftud under their respective titles;
rcsurvint; what we h:i\c In add to (he eeneral opiaiaB

I alreailv pi\en, till tVie tniicliision of the nrlicle.

I The O'l-'ivrr 15 lii^lily cHanivli'rislic of the drama;

i there is somelhiii^ oxceediiiply wild and romantic in its

t design, hut the princijial subjects are nexer lost si^lil of,
and are well blended. It opens with a very slow, soft,
and lowly noteMBluof wUeb tbe faUowingafe the fiat

I barB:»

Allegro confuom.
tf:

The qekt BM Ta ^ a at bagiaa wllb- ihk iioti*c— « —

* P cret. ^ J L ^ ^ ^ ^

ifi 1 f; t prrnrtrir

Part of what may be considered tiie second sobiect, I the chord of thesevenlh appears iu a shape that it seldom

' whieh |talM.tboagbila«AetinthiBanMiiaa(eeiMitia

if-tt''^ i r j .. t 4 ' '3

j ^i ^r i H gij^gTi i l^ I fa's dr I "s

Upaa lookias dissaly into this overture, we find more I abhr inoeBioiUt and its

'aflwMbMtrfbwlblN

3a,adiiiR tbanva tt mt supposed ; it ia grand, leoarit
YVL.IV.

evident

Digitized by Google

Ike iMMueHon, " Ligbt u fairj foot em fUl," ii »
lAoraB of furies, where twautj and tdeaWMfe csmbiaed
in «> bappv a nuuimri Uut, ta #aMiil» jedn of H-
adt7 Cm Ito dBBci, it aeoM all aiaplkflj. The Urn

flntToeal ban. and tb« niph-like paw M W iif MBiqva-
fif tb« itriiifHlMaMti lhailUlo«i,«fl^

AfevaMMtkat

SiKoeed tbe foregoing, are peeuliarlj Webci'aV

All too load t))« fiiiintaini plajr.

/_Tbw rtl wmMuttw mmt error in tbe fifth bar of the
^2|^Ted ,Ci^ pf tbe above passage, ^vhich we have

lo eatvect, by esipnngiag the t»»o c's from
baae, and addfaig the minim r.
'* Air, "Fatal tow!" This is a masferiT composition, in
C minor, nine-eight lime. It is full fjf ulislrusi^ harmonv,
espressive of 06eTon't agitated state of mind, and cx-
bibiUi Some combinations and transitions that the profes-
sional musician may stody profitably. Unfortunately, it
has hithcrtij b>:«ilMiodiAraMl]rnnfc ■» ' *~ ' ~
Utile notice. ' '

ban ad IMumt ■ ariitor, iiuig by Meisa, yA
Huon Is sleening. This breaks quite nnespecledlj, aod
with aa tBket aInioBt thrilling, into the splendid

C/i£inu. " Honour, and joy." In this is a snlo for
Ohrran, iluring which thn srf^nc chances suddenly frum
the fairv-kinj:'!i Luwcr to the cily of Hagdad. The
composer has hpre prridiiccd an effect jirnilar tn that hy
which flandol, iii ihi: aralorio of Siimjrwi, and Ha>dn, in
his CriuUion, describe the birth of light. The words are,

"But lo! I wire ri]v lilj vrandt
And Bugimi is beifore ttMS.'

Digitized by Google

t» HABMOiriCnif.

GrandScena, Yetl e««n love," tod •« 0 1 tisAglo^

■ighU" . This u • auEtim af ndUliTe and air, a

- • .... - .... ~ .. ^

muij

VRT Im bntToim, deKriptive of « lwttl«-field, wi
ft! Hnwt^Md gbritfc ^ Jh^ fa^ it ^aBmpodtkim ia

contrut. AaMg the letter is a alieheieg dkgretio
(paga 4 1), " J07 to tbe high-born danet of ntaoe," and
an allegro, which is particularly exhilarating and ado*
dious at the words " Fill to tha brim," and "Twine the
wreath" (page 43). Thh brilliant but most difllcult
teena requires a singrr pis-vc>'~iric the nuioBS powers of
the pcrfiirmcr to whom it v^ns nllutted bjthe taufamr;
in less able linnds it wonlil \ir. lost.

Air (prL-ccdeJ by a sliarl pfitativej, " Yt'S- my lonl I"
in the same grand style as the preceding, is tiut lc.s.s diffi-
cult to execute, and di&plays as much talent in the pcr-
Curmer for when M. von VVeber composed it. The four

I of intfodiKtory ijmphonj, for the violonoeUos, are
■MHicd bj novelty, and the air itself opens in a most
■wgnifleent maaner. At the re{ieUlion or the first words
(page 49, last KtafT), the burst is new and prodigioa»ljr
grand. In truth, the whole of this, had it been set to
UeUen wwds, and hroeght out at an Iteliaa tbeetre,
tradd hero been nrewmnoed a ch*f e P cum m m obwr-
ntten that will appty wilb eqaal ftna la Hm frealer
parloftbepreeeatofaM. Hii air ii I b i laa— i m i mu t
of the dnale to tha Mi «l| Md fanet into a doet, in
die beginning of vUAwlW waj arp(|;gio passaget.

fit odIj for the yiqlin ; a fault of wbioh M. yaa Weber
is seMom gniltv. The ajmpboiu leading to the fhmm
that succeeds the daet, is eoa af Iba aiany spednaM of
origtnalitj be ftoad It Ml «aifc,-awl ahewa the vi-
gwir ef tba iBMBiitli iaaaaliw faaidiy. Ito eAal kt
unconunonly atriniB.

Chorus, "Qiflify ta the Caliph !*!— Tbe teeend eel opem
with this cniflai composition, the whole of whteh is " rich
and strange," and makes as wish that we cuuld delude
nurselves info a belief that it represents the niu^ic ilsimI
at ibe court of the roiiowne<l Haroun Al Kaschid ; but
the scanty inlijrmntion left us concerning the state of the
faarmnnie art Hmniip; tho Saracens dues not justify an
R-sivunipliuu, tlial i( »ai more advanced in Arabia than in
Kuropu at the same ijeriod ; though Me couuut help
thinliing that manr ot the Spanish national airs are 01
Moorish origin. That KL von Weber, when composing
this, was influenced by some notion of what might Lave
been the nature of the music cultivated by that elegant
and learned people, — to whom mankind are so largety
indebted, — ^we are much inclined to think ; and if our
conjecture is correct, an additional proof is thereby af-
forded of the spirit in which this groat ■uoscian imagined
his works. Bat wa Bsast not iiMalge in tbe regions of
qccniation, thereloMwalaj before our readers a reality,
in the shape ofaAv ban flam page 06 of the preaeot
pieGa,

— h

144

THE HARIf O^VIGON:

Song, " A Imely Amb inaid," lieginning in. rteM'^WMT'^llitr'^h^ {bT A« f(h, Tdi, «iid 4tli, k hm Mt

and ending in tlie' major. Tlw Arst part «f tltit is ax

tremelj tender and pleasinr: the secwd more livelj, bat

inf<Tior to the other in musical effect.

Qu'irUtl, "O'er the dark blue waters." We linreliere
a bL-auliful coitctTtt'd piec<^ for two sopranos, a tenor
and bnsf, free ami s,n(jtn(j in its air, clear aixl natural
ill the ftc(_iini()i\niinciit. The rfl"ecl nf this is chjiniiiiiL; on
the sta^e, Imt it may be njinlen il cqiinllv dt liglilfiil in
the chamber; to glee pjirties tlii rclnre it will prnve

auisUion of value. Tli

beautifully introduced.
Dolce, ^ k. N

je subjoined excellent uaion
(pageM) auqr give aa Ida* of i

I oar ImiIi,

wet ^ - m

nd nifUed nid
th*UOTe>—

adalnldn passage, to ttw aamm «ardi, wilb • Iw

ittetiM

Air and Chartu, " Spirits of air." This is the incan-
tation scene, the vbole of which U k veiy deeplr-slodied,
■lasterly, effective pradaetion. The dtonn «f apititt it
cauetljr aoiled to neo cfColMt of Mpematml Uilh, vho
•ro fOMffolIj jpoartnijed with • atrans tinge of the
c M wi — hi tweir compositioik The MUownf paawgee
will be iHOMdiatcIy rccogniNd m Webei^ >-

IVlfftk

inOeUnro..

Bat he! hot ko! bot

-Tbe eNiBd of theaeti the lenghing of the tpiriti at the
eoM of tuk impoaed on them bjr Ptieki and* Torjr
fiendish langh it is. The musie donng the etom laiaM
bj theae beings is highly dramatie.

Air (pre^era), "Ruler of this awful hour " The
Oonposcr very properly calls this a Pn^/er : the publisher!!
have givon die name of air to ll> It io iM|in)tWWllj
I, and well conceived.

Grand Soma, ** Ocean !"— The bravura for tbe pirfB«
cipal lady is now introduced, weceded by a fine a cw
panied recitative, in the foUowtng woid*, which have not
oeennoticedaa thqr daaam: as aa aet of justice we
insert dteai, and ventore loaana,1hat had Ihey appeared
•nder the aandioa of some commandiag naaie, thcj
wodd have met with very general praise.

Oce«n I thmi mighly moniter thst liettcnrleai,
Ijike • grMn ternent, round about the wotU!
ToBiaMng eye thou art an awful si^ht,
Whea calmly tleepinif in the momiag l^ht:
But when Hiou risest io thy wrath, as aaWp
And flinr*sl thf Mds around ■oine fstad i
GraaUM aboagwiihlMd bafk as -twai
Thss^ qwaa» art ttaa tasriUa la daei

There arc some extraordinarj things in this compositioa,
and many grand effects : the exclamation of joy at tbe

sight of a vessel, is one of the boldest and most 8ue>
cesaful attempts at expressing paiaion that the musical
art can boast. Kut who is to sing this? — Tbe accom-
plished p^rl'ormer for whom it was composed hns nearly
sacrificed Iier health in supporting the arduous character
to which the scena is assigned, aod we kpuw of none oa
the Covriit-(;ardcn stage tbatoaght tO tO tmlod Wilh
a piece of such importance.

Mermaids Song, " O 'tis pleasant to float on the sea."
A very agreeable, waving, flovrinc melodv; limited in
c<impass, easy to execute, and weuodapted for araatean.
The final close it somewhat coaiaicn, aad aught be iai>
pinned by a slight aHeialini: Ae ehaage aneloer
two would suffice.

i>iM<,'* Hither, ye EUa Ibraagr Thisiifor asopcana
and teaor, ia a kind of daoetaf aiBMani, danle aad
pretty. Hie chona thataaooeeA, MWhowaatdilagrla
ner coral eave f " which !s the finale to tbe second act, ii
very ingenious: the third bar at page 183, is quite new,
and the burst at the words " let iis tail," ]>age l2o, is a
clorious pfts^nge. This piece, however, as printed, is too

long by at |en,'^t half: it is, if we arc noti

curtailed of a moiety in performance.

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1!RI »AIEM<midOH:

Any, **0 Aribyl iki» AnhjY'—Utn the iMfd net' I or * t«mUe foice, tlMi ^•UB ifrw %Mi One tAo

eommeriMt. This is full of «;eniua and orifiMlily, and in ' assert that Englaad U not m nocical nation. It ia
by far tb« most plensinf; nir in the whole opera. If so I divi(1c<l into two movements, the first (daintite, lb*

dci!cim]<; a son? d ies i;<>t liL-oimo jv^piiliir. it it h n.it -eond clieerfiil. — Of the liiltf-r some f*
fooud ia everjr house where there is a musical iusiruaiunt i from the following opening bars : —

rTTi ^

The modulation into the minor, at (he words " From I Sheratmin, the onmic charactar. But when tbe i
tli« drear Audcrun," is unexpected, and cuiiiiently beau- /•W/mo, bewailing her captivity, bef^ins, the tir^
tiftti ; indeed the whnle song shews the creative genius - into E minor, and becumcii exquiMlively tendaTf u the
and elegant taste nf A\'i biT. style of the iji st Iris,!i melodies. WeMi "

Duet, " On the banks of sweet Garonne." The com- i « few simple notes from this ^xu-t :— >
«f thii ifl all «if Mily, being written Ar |

—m. — u3 —

— ^ ^

On lilt

of Bun - di; • mir Disc 1

auo - bcamt

The lively movement, in the diit't thai folloiv';, wherein
sentiment:! inspired by returninc; ho|K- and ljri;;liler prn-
Specls are expressed, is not le^s pleaiiiig, though rather
lengthy.

Trio, "And must I then dissemble ?" — An expressive
piece fur a soprano, contr'allo and leiinr, written on the
phu of the tenetio in the /VviicAiite, end applkeble to

the purposes of social music. The conversion of the 4th.
into the 7th by a fall in the base, and tlie iininediale iiiiiuu
of the 7th and 4tb, are excellent. The modulation
immediately after, from B flat to E flat minor, thence into
e flat, end finilty back agein lo the original k^, ii ado
miraUe. 11m vhele fUH« ie eatilki to iuertieH.

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V^OMk nr in * miwir, and Ml dMMt lor
Tha eniMniionie aodaktion «l tii* wmim

" A rloud may come *fn f,mwm
iiaft masterir as impressive.

Rondo, " I revel in hope and joy again." A brilliant
eonposiiion, with a gooJ rootivo, regniriiw gnat ilexi-
lilit; and power of voice, and a dntiBer nrtieiiilbii.
Thamdsmthia, igioalntner in>tance^«ntw mnjr
folteaiilM, naddilMliflwHMniifimnnebntlNr in a
BMT Uridr H^vHcU to mriol aM. M the
in in wElcb the oonpowr liai tnatad ike Un*

it infienions at least

CAonaand Scena, " For thee hath bcnntj dedi'd her
bow'r." A scene of dancing and aingirif; united. Then
is something voluptuous in tM whole of this, so far aa re-
eards the airesHattcaipti to venqniah Ibe ooutancy of
the knight. Sir Huom, It mnit aaverllMla« be granted,
that the oiehMtNt heranmips fltore of the Bdo^ dun is
wiaoHeMa^ icdaoaa the viioel |itrie to bem •ooom-
■nfanate. He iatoivaptioM eewwio n ed in ihia, by
fibe enenetie octaBatione ef the' infleiibly-Tirtaims
paladin, tonn a wel!-inu^pned contrast to the loxurioos
sounds flowing amund him, and the alluring ebarms by
whiili Ills fuiili is irit-d. In one of the breaks (pnge 17j)
is a tine pH^^apo, chiefly of semitones, which will not
appear nm- to th isf> who nro acquaiiitttl with Haydn's
canzonet Tin- (> (inWcn-r, aiiJ Piirccll's •' From thy sleeping
mansions rise ;" thoiij;Ii iid plaiiiarism musl li^- ini|iiitefl
to M» von Weber, for p<Thap^ he was unaojuainled with
the one, and of the very eidstence of the odtor IM IfMi
■lost lilcely, thoroughly ignorant.

Finale. We Heir approach the ctul of this extensiTe
mtk. The eeene opens vrith a chorus of slaves, in
wUdb (pege ISa) is one of those singular passages that
an poeiy the oAprtog ef M> von Webcr's fsrtile
imaginatMB. Otmn tJm hu keve of the ooonle who
have by their matchlMi emetoanr rei ae e td Ida mm the
Intolerable conseqneneet of Ua meeiMMento eath, and
bveaka his spell in a few bars of snch ebanaing harmony
that we cannot help lamenting bis final deoart nre. A
manh, hn\iii;; ivi very remarkable feature, follows, and
a chorus by the whole court of Charlemagw terminates

Thp music of Oberon, like that of the Frciic/iu/-, shews
that the composer of it was well acquainted wiih what
the Count de Lac^p^e calls the mo' j/'j, ../a, del' art:
he not merely created melodies and liisc^nen.d new ffirms
of accompaniment, hut he stuiiied (lie [Mssioiis, their
ahades and eSectc, and expressed them with a distinct-
ness and force aaMom aaeompliabed by means of musical
He was, in Jheti a well*edaicaied man, of ex-
I leading and deip <lie^glil> ■ man who, had be
been spared, woaldi aeoovifa^f to every fair probability,
have extended tha beegiaeiel of his art ; for even in aick-
aaaa he ahewed no ay if to — aff Bentol exhenalioa, and
a my ahert time bebae bia iHlb he '
idaea crowding on hia in avqaiMt a
bia bodily strength wai laaa ImpeiNd.

This opera will be more pofmlar in Grermany than in
England, and more generally valned here a year or two
benen than at the pre^,eut moment. — M. von Weber
outstripped the period in which he lived; he will be

betMr hMdeibluad hereaAer. The power of his genius
will be more correctly estimated, when it i.s considered
that hp composed the present work while suffprinp under
a riiiiriiil disease; that be wrote a partion of it, and
altered and tinisbed the remainder in this country, after
« long, and to him, fatiguing journey, when our cliinaie
had much increased his malady, and while be waa
labouring under the depressing — and as it proved, vrell-
founded — fear, that he might end his days in a ifliaign
land, without the presence of a relation, or even a aear
friend, to soften the pangi of the dying hour.

Tboiigh M. von Weber had acquired- a profideaej
in the £iglish langnage which vraa quite snrpriaigg, the
short tiaoe that belmi devoted to iU aludy being dliiirai
fiv,jet behed nal audeUnaelf maateref itoacceota:
banae m atbeadenee of eneta, atiauie ant «f a want of
ha ei HiL d tt en this subject, appaerin nie work now under
review. FWm all blame attacniug to these we mo&i com-
pletely exoticrate the composer, as a foreigner; hut cen-
sure (nllt, Somewhere: it was the duly of the niannge-
meiit Id provide a rpiulified perbun to assist l!ie German
mu&iciuii ill a tabk >sljich, under his circtitii^tHiK i s, it wa<!
impossible that he shoidd execute in tlie m;iiii)er that
the public hail a right to exp«:t ; and if HiiiuriK' p»H|)le of
cultivated minds, being lovers of nuisic, nn iiiJilFerence
to the present opera should be nvuvscrl, we ahull not
hesitate to impute it to the many instances of false
quantify, or accent, and erroneous emphasis, that occur
in different parts of the work. It will imiiwdiatdy ha
granted that these faults are less pardonable whea we
state that there is scarcely one of them that might not
bj the e ae t t i on of a little thoughl, and at the eipaine
of aa liUb tfane, have heeo ooireeted, ao aa to baae left
the opera, ia this partionlef at leaat. to a atato Ibat
might have challenged criticiaB.

With respect to the mechanical pert of tbefnUieelton,
we are not surprised to find several Uwndera of the en-
graver : it >vBs necessarily got ont in a hurried manner,
and could not have benefited much, if at all, by the
composer's revision. The einplriynienl of the wnrda
"celebrated" — "admired," and snch terms, in the titlea
of the vanoos pieces, is exceedingly vulvar, an J >sill not
sell an additional page : nevertheless these tilings must,
we fear, be endured fur awhile.

As some compensation for these complaints, which wc
oould not avoid making, we most willingly acknowledge,
that in purchasing the copyright at a high price, in the pre-
sent difficult and hazardous times, the publishers shewed
great librndHj, aad we hofo that ttwgr will not ba»e

CABL MAMA YON

On Monday, the 5th of June, at seven o'clock in the
morning, the Baron von %Veber was found in a lifeless
slate in his bed, at the bouse of Sir George Smart, in
Great Portland-street, where he bad resided ever since
his arrival in London. The disorder which has thua
dt^ved the world of a genhia who baa contributed so
aweb to die innocent pleaaere» and therefore to the
bawit fiC ^HoUnd, waa a peteMaaij.eeoanantion, which,
to thecemmen obaarrer, bed aet a aiia aed am t—edieie^y
alarming form until the pNoefiag Tnd^y, wbaa it COiek
palled him to keep bia noon; bet hia apkito

Google

Chang*

Xl»

iteiiW|Ml, irfia
his mnhMk 4BMt.
imBm iiMhia • finri^i
■dag ^ndcjhr «§ rdm I* liit

naliro'coiintry, and to hit family. His friends, of ooana,
stndied to divert his attention fran a hofK which thegr
foresaw could never be realized ; bat all direct opposition
oolj tended to create in him ^r>?at unPH.sine!>s, ami hiismtnd
bociune cheerful in proportion oji lie rur'cciveil tLat the
TarioiM obstacles which presented iLeruiolveh were capa-
ble of bsing surmounted. A country niH", i'll. 1 urblt^nan,
whu paid hira constant attwition, left Inm at cli;»en
o'clock the night before his «kath, a|i[iai«niljr in good

With the laudable intention «f _
whether her« or abroail, ax to tlieeanseof H.VMlWAer's
death, an inspection of the body took plaea^ tibv rasnH of
which was the following certificate : —

" On opcninfjf the body of C. M. von Weber, we foond an

uU-fr oti till- l>'ft Kuti- iif i\ie larynx, the luajft almoat uni
TersaUy dueaaed, tUJed u itK tulierclfi, of whieh many
were in a stale of iuppurntiun, with two vi
aiwat tb* tiie of a rommon e^^, the other
frito HliBcient cause ut' hi* death.

" T. ToMcaBK, M.D.
" CuAauu F. Foaaas, ILD.

« Jims Jtse «fdtkr

Hie following i ili t ei lal io M , wUeh aimared in The
New Timet the dajr after the abore melancholy event
took place, are aojastand liberal, — tbey erince a mind so
enlightened, so divested from the vulgar notions of ultra-
aristocracy, — that they merit to be rescued IVmiti the fate
which loo often attends tbc lucnbrations of the dailv

WcsKSBslMrMa Imv far tn wj Msadl aaasi «Mi

«* llw mf MBeat whea the trasipet is soaadiag br the
iattk. to dwril en a lubjeet to oppmite in its cbmcter u the

df:iili .if VoM tVKBRa. Yet, eren at the risk of offnuiun', vre
cinn.il f.irljcar from MMiin* tlic farlictt opportunity alfurdeJ ua
ot'fi.iyiti,' ni.ir Imniblc Ini". lh ;\rt-'Vlt tri'-iiitc t;. the L.'re«t man who
h«* M suddenly been inatcbcd aitav from u.!. Of all pbysiral
piea«iirn, if it may b« ranked amuni^ phywcal plsasum, music
Is the purest and mast exalted. Ot' all pleasures its lanfaife
is the oMst direct end intelligible ; of all, the range efttepeaai
Ji the Widest; it speaks te the niosA and to tbavs^; tars.

IhiMmImMs; snst a stoshe, tte nft ist as tfcn
I on. wiHi all wIm are saseeptftle ef its inpieatiaBs,
■ay not uajniHy be reifardad as an abridfpMat of
Iks innocMt enjoTDwnls of socictv ."

In the fourteenth number of this work, for February,
isat, TFc published a memoir of M, von Weber, con-
taining everything of any importance that was known of
him up to that neriod. DurfOf ft tour on the Continent
made in 18«6, Mr. Keahle, manager of Covent-Gaiden
Theatre, went to Dmden Ibr (be purpose of visiting the
German tonipssei, ini there not oalj engand Mm to set
ma EngUsh apM to Miie. bnt to nmriatoiid lis bring-
^ag. la w ji Mnwu <f tMi be awiwd im ~

I, we fees, bis valnaUe life, wbieh might
en tended bjr repose, and by a resldenee in •
milder climate.

M. Ton Weber obtained abont a thousand pounds bj
his visit to England : live hundred for his opera, and othCT
sums for coniliicting the orchestra at the theatre, for a few
concerts, aii<l Uir unending some private partie*,, fur which
hig fee «as thirty guineas. Of tbc latter he was inyited
to very few, for the truth is that be possessed none of
those Kuperlicial, glittering, talents, — he was devoid of
those bervile manners, that recnmmend an artist to the
high ranks. To the bonoor, however, of the Marquis ef
Hertford and Mrs. Omtls, let it be leeorded, that bolft
made a point af nqaeatiDg bis p re se n e e at their houses:
a fact wudh, mncb r«loundin2 to their credit, we
should be Sony to omit. Madame WAer mm ti niieiMi *.
as bar letters from Germaajr indicate, tbit b«r aedaM
waa Ml MOdentlj leeoesaemed. If «a canaie the
total BWNwt of lib imraid wHb the iwMeea same
latllbed on lees-gified foreii^ners, wemnsteeriafat^iUdi
so too. He pDSBeaaed, perhaps , too powerfid e couatines
of real merit to descend to those little arts by wfaiek
popularity >!i to be secured in the fashionable circles.

A distinguishing excrflence in Weber was his suit-
ing the sound to the sense. In one of the pieces in
Oberon, Mi.ss Paton, Mith all her taste and execution,
failed to produce the effect intende<i by ll"- <-otnposer.
" 1 know not. how it is," said she, " but 1 can never do
this as it should be." — " The reason is," replied \S •■ber,
" because you have not studied the words."

A grander instance of bis feeling and judgment was
given when a hymn to the Deity was rehearsing. Some
of the voices were much too noisy. " Hush ! hushl" a«>
claimed the genuine master, " Hush ! — if you wiN ife
tbeaieeHHe « God, would yo« apeak so loud ?"

Hta aaeiatj to 4» jattloe to eny subject on which be

from Moore's Latla XmM, SSSm ^SagS
whole poem, which be bad never aaen Utm. 'The |e>
rusal of it impressed him with the highest admiration af
the poet's talents, and he iatiasated a stnag desire to be<
inlndaosd to I '

The arrangements for llie funeral of this distingiii'.hed
musician, through snme unexjXH.ti;<l iliilitullleji which oc-
curred, ciiuld not be completed by the lime proposed.
On the subject of the internienl of tlie hndy al the Catho-
lic Chspcl, in Moorfields, a corrcsfxjndenre trKik place
between the superintending t tmitninee and Dr Poynder,
the Catholic bishop of tin- Luiidi.n district, who regulale.s
that place of worship. Hy the existing arrangements of
the cbapd, however, permission could not be (fiven to
more than twenty musical professors to perform the solemn
service for the dead over tne body; nor could the public
be allowed to occtipy the seats belonging to the sab«
scribers, for which reasons the intention of cetebratii%
thefnaeial ia (he KsoiAaMa Cbi^ was abandoned by
thecoanniltoe. It <■§ idltoaasattf viwpaaed to apply
for tiiiiwliiin to Mar ttaWr la St.^'e OaMal ;
on ancr ane iieiiueiatHja, sw vara

* Sec LUtrmy Oatwm. No. tol.

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TBB HARMOHlOQir.

•pinion baring been taken on tbe sabjcct, conient wu
refused bjr tbe Dean and Chapter, on the indisputable
grooDd that a reqHvm over the dead being a Catholic
litSt cooU ant wuk pniprietj be pa t ftwed in a. iVolea-
Iml c lw clb Umk ioltrest appean to ham btM «s*
dtadaimf Oa aatholka af bndaa on the iid»jeet af
tKe dadiiea of lha Cbapter of St. fkid'i in tUt alUr,
M some of tbem bad conceived that the obtaining per-
mission from so high a clerical authority to bring the
body in that cathedral, would tend tn ^nfiea the pupulur
feeling against the catholics gencrallv, niiJ n Roman
Catholic p^ie^t wns in .-iitondance durini; iho discussion, to
roiivcy the decisiofi oi ihi; Chapter ty the principals of
Muorficlds Chapt-I. Tht- lutier then reconsidered the
matter, and so lar rpla\i d, as to nffi-r (o allow a larger
hauil to attend, runl maJe other i-uiiecssiuiis , in conse-
quence whereof the ceremony took place as at first pro-
posed, the account of which we exttMti wilfe nSnr COC>
rcclioos, fram the Times JonraaL

ifvuuttX ti £U» ton SM(f«

Tn rcmiUiit of M. ron Wcbcr were, oa the 2 1st uf latt month,
asadgnad to the raulu boneath the Catbnlic Chapel in Moor-
Mds. vilk the riu* of borkl mad in Mm Catbrila nUgioB at tlic
faHna. flf hvUf -diiliBfriihad ftiMBS { and Oa ceremony,
«hr«flk tha wkm awasiatlani tanaeled wltt vat pe-

Tiw motleal profetaort and other indiTidualt who bad ex-
preuctl .1 desire to nttcml :ts ninuriier* on llic orcMion, iM^icm-
bled «i>on after ci^dit u clock, at thi' liuusc of Sir ii. Siii»rt, In
Great Portland Street, and at about h.ili.|i.i.L ulrn- thi- ]ir<>i ,
•ion, consistiD^ of the hearse, with six Isurscn, 8i.\lcLTi iiunirninj
coarhts, and four private carriaget, iwt ulT f»r Die place of in-
tcriucnt. Sir Qcorga Saiait, a« tbe luutt intimate friend uf
M. run Weber, was hi Oe tint coach, as cUef uoumer. with
H.Fural^nan.a|wd(i«Mr«atheflttte» wheeaHa with M. von
I Dnirin, Sr. Kindt kla phjrsieiaa, aad Mr. Oo*
a, a IHand t» vhon M. van Weber was much attached.
In tha alher coitehe« were the followmg irrntlemcn : — riz.

MaSKk. C» Kcmblr, FiUTrrtt, Kr:uiii>r {M;\xl<>r nf (!ie Kirisf'*
private band), H^vil,ii;J IJurkc, Kulii'itsnii, Oluirr, I'l.inrlir,
liivcr.Tti ; Dr. Kiiri)rs ; Mfsir*. Sjiv.iry, |!r;i!i;irM, Mn-cliplc-,,
D'Aluiaini', CiiU ir.l, ClMppc'.l, Wiili-^. I'owcr, Sir .1. A. Sten'ii-
vcnson, Mr. Ailpr*. Mr. (Jii'M-; McB^r*. Diinisct, Ilohtion,
Shield, Wcbbe, C. Clcnifiili, Msjur, Linlcy, I'eglcr, II. Horn,
Cahnsac, Rudweil, lloriley, Stuinpflf, Schlciingi-r, Burrowei,
Fain*, T. Co«kat Wordsworth, Roredino, Ward, Walmeslajr,
HednD. J. Ik Ciaaer, Kicaewcttcr. The private cairiages
■Ikh atlwM wm thoaa of MiM SlqheM. Mr. Biahani,
Mr. X 8. mHait. and If r. Atoa.

At half-past 10 o'clock, the pracasriui anived at the CathoUe
Chapel in Moorfields. hong befine that time, thoie seats not

spprupri itcd lu Dm? ..u!j.\( rll)f rs had been ;jruJ;<;>llv filliiii; Ijy
per&oiiii attratlcd as viiiiturs to 90 novel and intcrc -tjn^' a lorc-
nuiny, so that when the time arrived for ll» c i)in:iienceii)eiil, the
whole uf vhe iiitcriur, whieli it is said will nccumiuodale 2,00')
individuals, was fully occupied. The pulpit and the alt^ir nere
•weied with black cloth, and the galierf ia which the organ is
plsccd was ftUed with vocal and intlnnuantal futmmtn. On
tWahar aaAaklbe lidsaware large waxen tapan^ aadlanpt
, Tia fiktt, the deaeoa. aad tab^daaean, with the
Iheja arrayed is the sacerdotal easlnm» who assist
[ the apptwdi aE tin body, aad

whea the eoflin wMh tte procession appeared at the grand en-
tnace. advaaoed la hmiI thsv. As llw. whale iMMisd alowlr
throngh priaeipal ihia, Oa band •mtmmmt the opaaiiy
aTMawifa Mtftkm, lha wwii af wUek an w

" Kcqoicra vteinam i

"Et lux prrprtua, la
Tfir hliiw niovrinent and fii?up, which jiiKlly number amoajf
tlM" uiriBli r-[iici rs of musical composition, were both srin? in fall
rh.)niv, iinil, rlrrivinj an inrreased fffeit from the jolcmnitv of
the onasion, became almost sublime. The mourners having
tiiken their iieats durinif this perrnrin^tire, and the coffin being
placed on a platform prepared for its snpport, tbe priert
chanted the introductory pvayars prescribed fur the oeratioB
tinder the fUmisk rituaJl» tha napaaMs hafaig aiado Iban fha
full choir In tha gaHtrf. Tha anhiatia then canmwneed tha
eelefanrfed Bit* irm,dit»abh of the itefujan. whidk. wiibthe
■ueecediag BorcMntSb It iateadedas a deaotpllan at fha day
of Jattgmeat. The appeals for merry, tbe triiunph of th* juit,
and the despair of tbe ^\\\ty, are depicted in Eriowing colours.
The mind of the composer evirjrnlly absorbed by tlic aw-UA
n.iturc of Ilia tubjert. \% instances of musical power in this
noble work, few exreeil the Rfx Irrmemltt majeitatit, and the
dying away of the choir into the passage talva me font pielaliiu
liut the Rteordart, the moveuient Confutatin malediclit, de-
scribing tlie poaislinicnt of the wiekedt and the iMehrgmaim
d»Mflfa.ar» charaelMfsed bj the ommI arigiaal and prufousd
conceptions.

After tbe last nioventenf, the priest's functions, and those of
his assistants, were rebinucd, aad at rarious intrrvnln between
other portions of the Hequitm, the hnrninp of iiKi tur, the
sprinkling' M itl: li Iv n-nter, and the ele\ r<tii.n of the lio*t, took
place, attended with various ceremonies ami ircnnflexions, which
when compared with the nobk ^-imp'icity of ihc P.'otcstant form
of worship, .ire viewed with little complacency by one of that
coinniuniun. After the euncliiding pieces uf the Reifuitm, tha
SMcitu, the Btmtdicttu, and the Agmut Dui, bad been per-
formed, and Aa ffagmbmngfat ta a eandmion^ the bo^r
was conveyed Awn tfta dtapd Inl* tha walls bdaar* Hw
orchestra playiagthe iMaif MsrdI i» 8»ui, IVwMe «f
the prcN ions ceremony had heea read ia Latin, bat ia depotitiag
the corpse in the vaalu, a few prayers were recited in Enflisk.
With these ended the wlude of the rituil, which occupicil full an
hour and a half, and the mourners then left the chapel in tit*
same order as they came.

Of ttic musical perfonnance it is but justice to say, that a
feeling of the solemnity of tl»e occasion, and uf respect for its
object, appeared to animate every part of it. Tbe principal
were Miss Cuhitt, Mitt Porey, Miss Betts, kliss Ao-
andMissFaRar} MasBrB.Bnhai^ F|nB. Bvans. PIntOk
rfsiidhrlbi^eriheCathaHot .
OaUtt it beard tapeenlacainntage in music ofttb<
Hon, and displays powers with regard to purity of (one and eB>
pression, for which those who have only heard her on the stage
arc not disposed to pivc her credit. Her solo in the Renrrlietut
was 6-,ui? in a fine and appropriate style. .Misi Povcy, Mis.»
Detts, and the other ladies, also distinioiished thcmseWes. Br«s-
h.im and Phillips were in fine \ oii e, the ba.ss of the latter siogar
fiving great richness to the general effect. The initnuaruta
were lc<l by Mr. F. Cramer ; aoil in tlic gallery we aiku ob-
served Mcasra. Mori. Bctts, Pignut, Mocalt, nrUlmagb and many
atlwr CMlnmt pashaiafs. Mr. Attwoot friridiA at tbe oTg»n.
Hr.Tbnaii,dMaqpiaitt4atkaehispri. hatAw adia«Mtd 1»

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140

w.M.** «Mt bMd gf OoMBl Chww
Utalftni tlwHMipMadliMdlttmlira*
■MrtvoTtiMdMpd, ta kmM interiinf «M Om tMlgm
«f the Mbwritien, the eawinine* could not avafl dieiatrfrM of

onc-hxlf the musical niJ proS'rrcd tlirin.

The fiillovrin^ iascription was on the plltc uf the cuffia : —

CAROLCS MARIA FREYIIERR VON WBBEB
naper

^ Pnrfcctot muiicorum Sacclli regil
»pud Ri?{efn Sasomim.
N«tDi oppido Eutin, IdIv^i Saiooet
Vie 16 Dvcembrif, ITSO.
Morluui Londiui
Die 5 Junii, 1826.

STAinSAS TO THB HBMOKT OP WBBBR.

Thk rnll.vM'IiiL' vf ry pntJii'lic trili:ifi' In till- riK'niory of M'ehtT
doe-s huniiiir In the feelings rini! t.iliTU^ o( il-. .lulluir, Mr. I'iari' hr,
It i> lifiiiiiil'iilljf set by Mr. Br.ihiuii — tlic movements beiii?
taken priucipaU; ttoto Wcber'i own coupothion, part bemg

Watpl— far tha Vord it apokeo,—
Moarnt— for (be kiH-II hath ksoU'di

Tlic Tiiii5t';r chord is broken,
. And ihp nutrtpr hand is cold !
Romance bath lost her minttrd j

No men" hit nia;ic strain
Shall throw a twcctvc spell an

TIte legends of Almaiae !

lb MMy ••>•()(■ harf ;
Uifllijawminfflira^

Us MM 10 mU Ml tamUb
Bt VUm w— im thrff t will,

Aad nmM Us wnh of tUmfh
Intoadirgvof dMlb!

O, all who knew him loved hiint
For with his mighty rairvd

He bore himirir so meekly—
Hia heart it was so hiiid !

nil wildly wBrblio; melodSea ■
The storms tliai round

VotsIV.

Are ^pta of the ainpttehy
AidgWDieerel hieiad!

Though years of ceaseless sal

Had wont him lo a sha<ti>,
So patient was his spirit.

No wayward plain' hf made.
Cen Death himself sceni'd li

His victim pare ami mild.
And stole upon him );emly.

As shsotbet o'er a child !

WM»!-factl»«eidlii

rtkelMlltMthkaeirrfl
lie beaker

TUMMWlMibMUr.

Dr. Amt.

aiutt,.

Martini.

HtmiUI.
HmtJtt.

Wfdiutdajf. tfof lk» ITtl, int.
An I.

Matic in tbe Tempeal.

DoeMiMMidChenMb CealaBi. (itfMM.y
GIte. If oVrthecieellrnailLim,
Soar- Ombre! Lartre! {jNtmH.)
Concerto, 3d.

BoBg. Whai ihooi^h I (taee. (Sttamatt.)
Cbofos. I) Knih>>r. (JuJat Mac.)

BacU. Thrice happy kiof.) fJWbwsifc)
Rom. G*ldcsc«WU«i . { vumman^

DoaUeChwaa. loHMHal Laid. fM^rA}
Act n.

Oror. and Oio. O conte |pt ua siaf. (CAm<(M Atlhtm,')

Cantata. Nrl chinsn anlro.

Dnei. Carol Bella: 1 , t \

sis'- l*^'o.v^r^. I «•"«••)

Modngal. flora ^re me fairest Bowers.
Chorus. Gird on thy swenL (Jlaai.)

Sons. '* magnify the Locla
.Sflfction ffoiu ^ul.

HetuM.

HcmM.

Purcflt.

HanM.
Handd.
Hamlet.

Tmr truly rnchantinif mniie of Tl« TtmptH, the most charac-

jii-rhaps that sre r f insnntetl from

tcr:»t

IMS

I'lirrrll'ii majric mind,
1 til iH the 'IVnth ( '.'tw i-rt, 'iiiilcr tin- ilin-rliuii ut ihe rciic-
r.ib'f .-iihl amiable Karl ut Derby. Whether iiitrmhioeil at the
«.i':^^-i\stiiin 111' till' unbli' K.^rl himself, or whether at tbe rrcoin-
memlatiim of tbe la^>tef{ll »n'l jitdirioiis conductor, we knotrnut;
but nothiD^ could hare afforded in lo much plcafuiv aa the pet*
formance. for the lint time, of the ttnrm choraa, eampeaed em
tbe rerival of The Trmpat at Onir;|r>Iane Theatre, manjr year*
ag«^ hr the late Mr. l*not. Linletr, jun. At a moiieal «clarr,
we llnnk it perfect ; it is impnisible to litten to the different
fihngct of the hamioiir, a* denrriptive of the Tiiiin|^, the anhMil-
inf, anil the ri^e apain nf the storm, withiiiit having the whole
tremendiuni wene before our eves! 'J'hc b^Miilifiil and affcctinf
repotitiiHi at the wnr<li ".Men"y! tbe siiikinif irrctibea rrv,""
»iirri>ei)ed hv the iim I'ii! i lnse im the pfil.il puint, " D.i^fi'tl
on the trembling shore," ami then dyintf away .ij^ain to "'I'hev
are h(!a.ni no moret" — these iniit.ince« of pallum and sublimity
may often probably hare been equallv, but, «re will renture to
—Tt wfTs TBiywwy wr fUMi d . LmladUtkachuBfaif «•■-
pQ«er thnk laat he bkmelf wn dcttlMd, wit laaiijr noatti
after thit admirable produetton appeared, lo heeome th« victim
of a watery grare, and " to be heard no more )ot«o, alail
il happened ; he wai unfortnnately drowned at the late Duke
«( Avcaater'a seat, in Lioctilnthirr, in the Sird vear of bit a^
only, le.irine, (H-sldes the present, ninny qileiaid apeeineiit of

siipfri'.r L-i'tiins, which, It is <1r<'|ily to b« KflCllHif UTt SOt Ufct
thi». bn.iiL'lit birw.ird lo public ndtice.

I hr iborus wa« very cfTcctivclv perrumtecl, and, ai it will
iliMibtJeiw he repeated whenever The TVin^rrf mutic be repeated,
we would, with all due deference, tu|;f e«t tbe propriety of nscrib.
iTif It to its lawfiil oirner ; il lUnde, at pretent, at part of tha
mutic of Tkt Timmut br PluiOilL

The OiieMfiM wnidk Mloired wu eneand. pussiblr becaim
Madame Pasta tanif a part, fiw we could tmce n( thinjf rerj"
itrikinfT in tbe thiai; itself; the only pleating Mr,i:ii in it leria*
lo hiivc been burrowed froin Gluck. By-tne^by, the runninr
up and down the hnlf-notci with the Toice il a trickrr\/. m IiIcIi
« c should not have expected from tuch a tinsfrr as Sf;iil. l'.ii.ia ;
and ue fear slie has been yieldinj^ to the su|r^e)'ti">'" of oilirii
on the subject : siirelv she cannot herself approve of «nrh ii?ly
faoeiei. lirr "ihnlire! Larve !" was very fine; this sonp it
atbairably suited to bcr powen in the teriout ttyte: on ike
~ I itwaaMhare been itllt man aftathe. W«ff|Ktthak
MkbiM ainrer ha« net coMnCtl (hat aM '
Aithwart-ltoriMhti tothbihtiiairilrdt

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THE HAIIMOMKaoai

"Whlt.thtHigji I trace " inR rerr dilKcnll |OBf for the tnott
finished of our warbler* ; but wa d* aot (itMn Miu Johnion
when we aifinn, Uutt a more chaste and fcelinf perfomiwoe of
Itmt HTCrcnaiMd. Wc hare heard the lon^ with indiffer'
MMftbudlcdtlnMI (iwt ovring tu any deficiaocy of merit in
tiM Air itieir, whirh it exquitlte, but in conacqurnrr of the end-
ku repetition of il), but this erening- vrith particuUr intereit.
We predict hij^hly of Uilt yiuikg bAf. We must nut treat the
fine dtorua in Juilm Maeeaieui lilce the " Crurl tyrant, " and
pait it hr unnoticed ; it wb«. ii« usual, nerfonned with creat
apirit aad precisiiin. The son^ I'njtn Salomou smacks of n«-
relty, thnuifh there it nothing very remarkable in it. MiiiS Wil-
kinson (lit! it ample justice.

"Immortal Lord " was a mafrnificent close to the act. After
tlw te Mtbem from the Ckmndm ColUetiou, Madutt Pkita

J m nrj beautiful air of Pereot(«r«, tboufh aot no* tlutt ii
fuctir awtd to ber power mmI atyle ; it was fiir too to/t aitd
nM rar far. Pkiflipi it richer e? erjr time we kear him ; and
his iroproTement in bli art il m«Bifei^ fnm tlw Noble Direc-
tors nut hesitatini; to put into hi* huil PoneO, in the moot
formidable shnpes that this (rreat compoier has assumed.
Greatly, howerer, ns we admire this youne perfortiier, aii'J much
as we conimcii tlirir praisp be it npfilenj to (five it, we raukt,
iii>twitL-t,iiidini'-. buicnt the almost utter ncr'sct of Mr. Bcl-
Jany. lie is still the icsal successor of IVartieaan ; and we
tbaagfa with gnat deference aad MfVWt. that he

Mt be thu •liBMt ctHHiantly deprival af Mi UgitimaU
fmm, ftwMldlwlMiiqjMiawtoUiintareMMMi wdJ-«a(«-
WM baicto|iv0 UBMcafHMBUit at aU at thcM CoMctts.

We cannot paw by, witbout tpealdnf in praiac of tba per-
Inaance of \Vilbye*i ehaiwinK inMriipiC and of Miaa Stepbeoa't
fOH, though we wish it had been alinaat any otlier ; it is a very
|;m1 air, taken aa part of a very excellent antlicin, but we trace
IWlhlni^ in it of so extraordiuary a kind as to entitle it to parti-
cular distinction.

If "(Urd on iby tword " biul been tlic gtxnl night choral,
tnatead of tlic cubliriK' ,<poni[iir of Saul, it wuulii Imve been far
better i it i* a fine chorus, and very originally conccifcd: Iwt
.** Haw excellent thy mama." from first to laal, may be
t of Haadel*! gigaBtic eCert*.

if 0m Bmml •/
r,nvlllt»U^l«i«.

A«r I.

Orcnare. fllidSriMa,J

Choru*. Monm, ye afllirled. (/^diif MSmiO
Duet. Pair Aurora. (^rfAacraee.)
Chorus. Great is Jebovsh.
Bonif. Not! tI turbatf . ( ilenlf.')
Cooeatto. (^as SeUct Harmmiff,)
Ch » i W.- "

HaiM.

HamUt-
Dr. Antf.
MaretUo.
aiurk.

BtuM,

kvt n.

OvertoTc. (OUkfc)

Qiiuricl. HecuidaiO (Jillflrin«.>
gong. To God our aina(th. » flh^iiiaA

Choiua. Ptrpare the b|Hra. J i ^~-t

tmf. In inEsDcy. {AHairrt**Ci
Water-Music.

Chora*. Blest b« the hand. (TVIaerfara.) '

llacit. Ye verdant pUiaa.
fcw. Hush, ye preUy.
MMWgai Uih;«l|Mill
negwMSItabn.

Wa heartily wish that the Nublr Director uf Uiia evening's coo-
iDcrt had gifea na • little mafe ef Jtidt Jtfaiaateiia. "Jttk

HmuM.

Ma*ari.
. M—art.

.MmM.

' Bandit.

Aurora" «M •■maiiil ftU of from " Mom, ye allleted CM-
dien." a^Mft i» I«wiPai«Mrt%aHMMra»-dt. Mwirili'*
lnapiriBgtii*a«ldM»na<vMi. Bm U»k HmmlmA m
not pleaie na In "Non vi turbate It apfeaw d to be of-ta*

■demn a character to pirate her, and atie eridently toek
pains with it. Miia Witiinton would have lung it better— vilB
more exprtteten cmataly.

The chorus from Drhorah is one of Handel's (pvatett ffv-
ductiuiia. How taatcfully, bow jadiciously, wai it tiicreedci hf
the cborua of *' a. * . . -..

And!

■Tinae baa nottiwmediDj flowinf hairr—
And scorn oppresaioo's iron

"PMd.Utmefeiielifci
Aad ei^ariemen I fm

Ratioaall— There h MAfaw itifttaff b BMdifad*a
to aeened to Hthik Min WilBBie«» fir iIm wh varj
of tune in it. Dr. Ctallrt — pfflrT in urifeM pnidaeed lie
wonted effect ; we roeiilieB il bacMas It voaU ba onlUrto paia

it over »m6 tilrntio.

Madiiitie Caradori «ra» encored in " Voi che sapete," but she
vrns Kadly out of tune: we suspect that this i* more owin^ to
indilTerenee, and a want of due exertion in the performance,
than any tieliciency nt' enr ; fur no intonation can be marc per-
feet than her own, when slie ihooses to take pains.

Lutd Fortcacue ha< at length fratilicd us with the hcsvcnir
" ReoM^Biab" from Motart's Requiem ; and will it be bclievea,
that lUa dirine noTcinent, tbuugh as exquiiitaly sung at
poeelbK waa laaeifail widt MM wdiftfeaea la BOBoat atacv
fiMBrtar aC lha mmt Wa Mlare, Aatweram tD ba adM
upon to »el«et frotn the whole mate of thil frreat um ii» e ae i *a
tnutic that which we tlioujirht the moat loothiogly-deliciouB
stntin, atid, as applicable to the subject, the moat tolemnly >p-
propriiitc, we tliould not heaitnte to fix upon the "Recordare
anil yet il nermt'ii, on tlie present cwcasiun, aa if all the yauru
of the evetiiiiir hxii been reserved for itt reeeption.

Itiillips satig his sun^ charminflr, and delighted to

find that, though he it tried in many of the rnott difficult air*,
he maintain* hit elevation. In " In Infancy." Miie Johntoa wa*
my Jaaa i iaffljr i aba twwblad iiwIlhfaiT ffNa*
wnaaa af tepceMloa, but dM maal atteM tolMr
artk JaliaU" w llb oat tba boalrbefbm aa, we (hoald have made
bat an inSXeitat gmna at the word*.

The fine cliofu* from neoders i* notattoekpirce ; we wish
it were. There it a rich and atrikinff variety in it, whirh will
alwayi make it acceptable — to us at tc.i.it. The water-music
durinff a regatta on the river Thames would be plci^in? and
appropriate in its proper elernent ; in a concert rouin it is rn-
tircly K>»t. Mi«s Sti-phetis e^^'ve hfr " itiriHinsr fltr.iiii-, nh -lie
always docn, with preat effect ; and Old Wilbye « brautilul
madrigal clwed, uputi (hi; whole, one of the best concerts of the
leacon ; we tay c/osrrf, fur we will aoppoee the Hundredth P*alm
otttoritaai

JMMTUr,

XMf«*t<«t» */ lA* Kami,

Act I.

OvoTtnre. fHi'rmict,)
Ki'cit. Ilencc, loathed Mclaiicboly
SuDg. Come, ihou Goddess.
Sony and Cho. HaMe tbce, ayaipb.

Recit. Thus, ntf^u
C\\rtrnit. Populous cities.
Itcrii. Bat let my due feet.
Clionjs. There let Ibc |x-aUn|r organ
S*^stelto. In braccio a ir.

Otorua. O God, who in thy Itravcnly

Roeit. My pceymaieheaid. 1
Sofif. Tenia, Mteh as leader. }
Qumletto. Donl pace,
let. Oaiagvniotlia

(Jvteplt.)

(MeroA.)

Hemdrt.
HatuM.
HanUL

Handel,

BmM.

u\^^.,^<^-^ uy Google

THE HARMONICON.

Am U.

AfuplMay in E flat.

IVtiMio. Qoello.
Fiubt. DoT« no.
MwiriKal. OVr
Air. tl inio COr.
V\er and Choruj. Come, ci
Antbem. Hew 1117 fj**'
taff. MMtqanla. {la
BMit. Orrhf Asdate.
Dvet Md Choral. To arait!

fUCbmrnMnUTUtJ

(Cm/M '^i^^ ITdifciiil, t«6.

, Qmmvia.
inilt J>r. RiMjrTi.

Krnl.

W« think tliat the Noble Direetor of thi» our ImI coqcert of
the icMun vfii particulnrly tuccenful in lilt teWtiont; we
Uierefore the taon deeply regret M ominian that ocnrred
darinf Uw eveninr, wkich wu at miMMMliMt wtiiwt.
It raainded u« oTtte tM thoua— i-li— tM Utty ti Atpoor
•Mliif nMafcr. wlw IwTiiif anooaaeed llw tnfWf «•«••
fai; CMM Ibrtnm, prtrioaaly to the drawiiv or tta eurtaia,
to noloiriM for die awamry oini«ioa of iMcliaiiietar of Ifaai-
Ii*Mm«i^, whowaatiAniill! Now there waa m awh good «x-
enie for rnixinr onr exp«ctatinn« by the commrnrpineiit of one
of Ilandern n»>.«t beautiful choniiaca, and ttuppinif short at
the finest piirl of it, after the s.iilfrnn »lr.tin, " Therr Irt the
pealincr orirun hlnw."' The ex(jiii»iti' fneut^ whiih fuil.iw?,

" ThciC plca»uri'« Mflanfholy Lnvi'.'" (Ui«n tthich nothing
ever n'As mure 8(>(>t1iiii£,'ly iiiipreKkii c). i« m« iruliqteiiiable at the
reaolution of the imiat chrumatic diacurU that ever waaparaoaaad ;
bat it waa omTwl— ghiyhaHh, I haf« laat ■* hm,' i>
fall chorua, wMh Ana mtk miatpala, wa arif ht Mr* mtm.
but thit omiai i ai l » O ailMWilifii

Phillinawaa cualaal: tth exeeedinely diffimh to execute
the bui^hing' aong, aa as to coorey the idra <if liuifrhter, yet »till
prcstcrTc the melody : but thia he certainly >li<l, with rich ipirit,
anJ free from the least ruli^arity. Our ol'l frinicl Bellamy we
ahiiuld hive brcn better pIcMcd to have arcn ami lic»nl in the
hiifhcr walk of his art, iiiHtcad of beinf ap(n irittil ti> icsd off a
ni<"»jrc choriiR, the w or^t. fHTli;i[i«, tluit Il.in^r! r , rr < ■>ni[>i)»'"il.
The sfstctto wag very delicately w»rblcd, and is an cicgaut Cuui-
position. W. Koyvctt was in particularly coo*' voice, and uuif
with mure than conaoon animatioD. The nne chonia from Jo-
m^mmmA, TIM MoMtia finm Ha^aaimh Onad Can-
Mri» M • wrj plaariof aiaeU aariilMd aa Ik mir b by the
wtod initniment*. added by Oreatortx with the rreatctt taate
■ad ikill, and prepared tis> to feel the full force of the aiTrctioji:
anDjr which followed. Mr. I'hillip* was deservedly ennired in
H; for we must aay we have never, since the (i,(\6 ot Il.irtlc-
laan, heard it suny with such feclinjr and expression. \Ve could
have wished utnirtlun^ more atrikinf; fur Madame Caradori,
than a part in " I)oni pace," a auintctto which is perfurincd
durins: every Fcasnn, hut in wlilcli ire really hnd ni4hin|f »ur-
priiin^; we will nut sav it is a mavrkish. but only a pretty thing,
The anthem that followed and concluded tM Mk is All! of
taanlie* ; and MiM Stepheni and Vaughaa, in tba WM "O.
worship the Lord," were perfection. It waa really one of the
richest treat* of the ceaaori. Arxjtbcr sad ditappointmcnt, aria-
big from omisaion, we were fated to cxperieoce in the openinif
of the second act : Muzart'i ipleadid ayraphoay in a flat, teitAoul
the lait mrtrrmfnt! — and why? Surely, if tinie vtM to be
aaved, we i nuM bitli r have spared lluberto Waclrenfs dbztr,
or yi'crr — cilli. r nonl will dii — uf Anno Domini 1j90.

The li r/cltii friMii /.a Clrmrnza di Tito, and the dcliffht-
ful fmnle froui the Cuti fan Tutte, were bodi exceedingly well
performed, and gm»« abaadaailMiiAMlian. lllaa Wilkinson was
aora at boina in "II tAatUt" Ami WliliaTa hCard bar for aomc
tius; but we still tbWt ikal bar m wm ara im
ntettood. The«MaU«8oBlib*'«inllr.ltMra
we nnit really leave akNia } aa tattaBw^Ufcawt j fgmdfblBy
eA«riMs«4 otcr tbe bolUa, brtail wiiillj lha pMparfMU»l»
Hear my prayer."

Madame Caradori did initice to Mozart's tine toag;
Parcelfs animating strain cioaed the concerts of the season.

Althourh the perfmnnawes of this year have not abounded
witli noveitv, ^et we rejoice t« say, and irratefnilv aclinuwiedfe
tbe tact, that MMtlt/ i*a baaa badt

tion. M'linrt hus been broneht before the .XncienU, an.i in his
best r^rh : T\nA we tnist that while he i Mnliniiea to shine,
tre '.liill he O.voiin'd m-xl season with smne of the almost uii-
knii'Tn, hut ri( h .iti i hrill;;\iit sterns of Handel aiul of Pnrcell.
What ma^niAcrnt ipcciincns of their wieiKe a04l ioventiun are
still left to aKNiMer in oMision, coasposltions whidi tha Nabk
Directors of tbeae foe eonewl s ban the power af lacaBiar to
life, theraby doiaf jusiiee to ccafan, and frallM^r. ia Oa
' ' atbartsofttawbaeriban.

higbnt dqpaai tha BM^ority,

SBVBMTH OONCEBT, Moadiy, May A MM.

Act I.

Sinraata,Mi>OWW fx'r^'rn:<'<l) . fHtt(t.

I >ueUo> Madasse Osrarfori Allan and hignor Cu-

rlooi,''Sei gia Spo— ftm itmm m dul laga^
l oneeito Piaao^brta. C miaae^ Mr. Maalbafca
Ti.-ne(to, Madame Ctaadosi AHi^ ttgaot Oi-

rioni, and

Ann.

Beatt. od Aria, Madame Csiadori AUaa, " Deh
Patlala," f/<Sor««U<»d'if*rmM«) -

Quinlrtto, two Violins, two Violaa, and VioloD-

celln, Menrs. Ki«seweUcc, Ouiy, Moialt,

Aihtey, sod Lindley ....
Duettoi, fliiaar Carioni aad Wgaof Whariatt

"Sentodasto,"r.'Vni<>> ...
Overture, /uAUee - - - . C. Af . VMS ITsim.

Leader, Mr, SpagaolaUi.— Coodactor, Mr. FotUt.

Thb Symphony cboaaa fef the inning of tUs eaaawt ii^

in oar opiniua, by far the ablest composition thst Mr. Ct*
priAoi Putter has produced ; it not 4>my shews the thoroiqili
knouledt'e uf harmony — of tbe characten of the different instru.
inents, and uf their cuuibined use in the orcbestra, that he has
aluayi evinced, hut it also displays invention, the want of whieb
is (.u i'ppre>i»ivi?ly I'elt in nineteen out of twenty uf tlmsc things
l alled iiru\ tlj.it .ire annually brought forward, in vnri'tus shapes,
and irtiiT.edi.tlf^v [■unt.it^iied t*> uhJivion. Tlie pre->ent wurk is in
the tuual iiuinber uf uioveinents ; the Minuet aud Trio luive the
DMst novelty ; herein are some aaexpceled, excellent eitoto
There are likewise passages of oonsiderable origiaalito in batt
the first and last awvemeots, but the ioaie wenid b* imptotad
by abridgment. Hie wboie met iritb great applaaaa.

The SvBphoay in F, Oa. t% by Beethovea, is eae of Mi
later proaiKtioas, and baalak VHy few striking points thai «•
can make out ; though many coanoiMeurv think that they die-
cuver beauties in it which entitle it tu tic ninked IiilU iunoogst
this (Treat coraposer's works. But there is niueh in a luiuie ; B
hiifli name naves the trouhle of thinking, and is enouifh to pro*
tect an opinion, however lta»tily or erroneously formed.

The Overture to The JUontttoin Spirit, 6pahr, cam.
msacing mattlaio in snw^, pro c eeding oKrgre laaadaar, aad
letoraiar to tbe aMiiet l a n a a datlw iMi il arii nf !»■ aliii l ii, ba t
nolaplMsiagwori^Hbalf labaar,aa«batlMd»a«ic«. Tjto
JaMbe Otrorbm, composed for the King of Saxoagr.lat
Uaal, eiU&rating coDpositioa, but witboutany oftheaaiA
traits that marlc most of M. von H'el>er s KoriuriiuBs.

The Concerto of Mr. Hosclkeles is full of icimce. and vr-.x^i
surprisingly executed; however, it w»Bt. variety, «nd liiue more
raiety, fur a coneert-roam. The beautiful liuintd 1! H i tlinen
waa tWmiagly iM^fonaad; ^^j^^^^f^^fH^IIJ^''^^

those jerto at.

Digiiizea by Goo^

UNI

THE HARMOKICX>N.

The Tocal part of the prci«nt concert WM judicioBily lalMldi,
and well nuns;. The duet from La fioana del m one of

RiHttini'i best works. Thi Trrzeitu by Maiirt^— written hy

him fo t.trcn»:thcn La fi'lanrtln rapsta, an opera rompn^cJ by
n friciiJ, — 15 di-lir.alo nnil plcasiiisr, Mvl was luiidly ciicurcd.
Thf Srrna, hy Cirnnroiia, no liavc uf>en mentioned : it w a grand
ir.; inrtion. An ! th? Il:^>-t lV<<:n Xhia is • pnd iputlimi of
Paiiicllu I uicliidi>>ut and culluquial etyle.

EIGtITU CONCERT, Mob*^, Joe », lOe.

Act. I.

Sinfonia in G

Aria, Mr. PhilUpt. " l<afeiB amor** •
Concf^rln Flute, Mr. Nicbolioa •
Arin, F^ienora Caasi, " Ahl cbe M
Violin oblig«t9,Mt.KiHe«etier -
Oveflan, BgiunU - - -

Act II.

Sinfottia (Jupiter) - • '
Aria, Mitt Baeoa, " FrenaT, Vonai** -
Quintctio, iw* VloliiM, two VIoIh. aod
M . Dp Betlei, Vbemn. Oaiy, "

• Hmydn.

. BamM.

vilh

- Sfanfrogfji.

- Pcrlogallo.

Menll, Lye* wid

B*rlkoven.

Tefzeito, "Cow sonio," .Siznons ( 'un/i.SiijiiorCuriani,

and Mc. PliiUips ri<r .N "■:-■<■''< /■"'? • '••> > - - Mnrarl.

Oveitare, '/.lubrrjljl'' .... Matart.

Leadcrj Mr. Kiraewettcc. — Conducior, i>lr U. Smart.

TUM dghdi wd hit concert fur the season waa nihered in by
tlw Deatl March in Saul, perfiinned at a uarlc uf reipect tu the
memury <>f the Banm vnn Weber. It would hare gone off
belter had it been reheara«d : the more mitiic it knovB. the
more correctly it rrqiiirct to be executed, fur all an good Jnd|r^
of that which cvcryboily >i!i» heard so freiiuently.

Haydn'! Srinphnny in o i Nn. 3 uf Cianchettini s edition) is
oaeothit far)y worlds, irilliuut truinpeU, druiiii, cir any of the
uproarioii* machinery to abiolutely neceniary to Ihr roinpotitions
at the prctent dav. ' It wot a gieat farurite with the authctr,
wlwMleeted it fo'rperflMnan ttOgSati, on the oeeHino of the
UaivcidlrcoafemiiroB UmfhslwiMniry defrree of Doctor in
Moite;. TiW AdagM eanMilr h an elecant iiiovi>nif nt in n,
widi a hw Uft J welody rmminf throuvb it. The tliiali>, pmto,
III tut of thuae almple papular aira that the in^enoitr uf thii
gHM man raiaed into comparatire importance by hii ikilful
manner of treatini; it. Of Mozarfi Symphony, and the two
Orertoree, all of which we hare no frequently mentioned, we
need only »xy. that they were exeruted with the utmust predsiun,
and lizard witli uniih»ted iafisfiicti'm.

Mr. Nicholson'i flute concertu exhibited another proof uf lii?
taJenti: it wai modest in point of leofth, and an Irtth nir. Iju*.
little known, which he introliiced aa • slow marmiient. deli^litcd

MtamlMM. The Quin-
BonoTo abllHIet, thom^h

tett ilioii(tbinMd our upluion of

•ome few thoufrht that ne wanted warmth and enertry in his
node of perfortninr it. To n«, however, it appeared perfect,
•ad exactly lo tiic •.tyle that die Author himself wouM hare
mrored.

Mr. Phillips') air, from Hnndtl s (ipera, Orlando, jntined him
freet credit ; It i» a coniposilinn luti-ly rpvivcd at the recom-
meodatiun of a Yorlcuhiro eentlcniiin, im .iinafcur well known in
the musical world . Of SiKniir.i < .ui/i, ;uiil ii'so of ih"? aria in
which ahe made her c/r6ft<— froio an opera, and by a ciMnpuser
of«)MKW«iie<«rhc«nl— wo nwy periiapt tMnk OMraferoar.
Mf alkir a Meand hearinf , ahoakl tUi. OKBt ever aiffn. Ti II
Am we nepend a«r Jodpiwat. Mim Bacon'* Toice, now tint
bcaid la the ArfyUKooihi, dmlo^tti line quality and full
power ; it did nut totai to half the same adrantajfe in the
HarMver-Square Room. She aan^r with rreat frelinp and judg-
ment the air of Portojrallo it. the opera of Semimmiiie, and wiis
w.^rtnly ;i|i|il.iiidcd. This composition i« niijst unaccountably
asrrihed to CiinArosa, in the card of the concert : 40 error
which, in till' [>rrsoiit inktanoe, we hare corrMlHJ Ihovfh
. we feoeraily print tlte prupaniaiea litcnUy.

SIXTU CONCERT, Moaday, SIhof Joaa.
Paa* L

Symphony iaOaiiaor ....
Duello, SieooiaBoahiiaadMtiallOcoa, "Mo! ti

latcio" - - - - -
CaTatina, Sisnor Vclluli, " Iji tua ddcita " -

iuor — Violin, Mr. Kie»cwrltcr — Tenor, _Mr.

MSfir.

Mr. Liodla*— OooMo

ISigDor

BtHhotm,
PaemL

Wilier*
JToywr.

iferlaerti.

Sepluor — \

. lioioii-i

Mr.D(a(oaeili-aariaet,Mr. Wil
Pozi!— and Bauoon, Mr MacfciahMh

Terzetlo, Siimora Booini, (HgBOr Vdloti,

PcUrirrinl, ■• Oh eiel <rf col"
Ari».M-..lMn<- Taste,'* Ah eho

Signot Fuui . » . - -

vjm n.

Overtnte, (EuryaaAt} - - . •
Dvelln, MnrfaniehilB aol S«|MrCaMOMt **'B4a-

•rrto it boitro" - - - - "

f :niir;n:i, *^i_-r,or.i Rfu'i'ii, <■ Cinu. '■ IH-irarp*"'
Tiru'i'.a, MiucsM«rinaniand(Jranl, uodMr. A.SapiOi

(Pupils of the Royai Academy «t Music) " loqaal

Sogxiomo" (Tebaldo) - . - -
Cavaiins, Mi«« Bacon, " Frenar.TOtrei*'
Terictio, Madame l'a»ta, Sicaor PelkiCTiai, and Signor

Ue Bepiii, •• Ah laci intciusto core**
fiasle, Signom Booini, Misms Marinoni and Gmat,

Sicnori Curiooi, Ue Bcsnis. Pellepiai, and A.

Sspio,''Viva, vira" ( L* luUaM^t^ 4l§Ki)

I.ead«r, Mr. Spai^noleui^— CoodaelOT, Dr. Ctalell.

Tmb BvniiilHiny of Mo.Mrt, and llic uvcrt.irc of Weber, werr
ably ]icffunm-d ; the lalier « as preceded by the OeaJ M»rek lis
.Sn h/. a mark <d' re«pe<'t to the memory of the Baron VOB Wcber«
for which the committee of management are justly enHlIed to
the thanka of OIHT fOtMO. lowr. aad |»rufesiM»r of music. ThB
example was fUloved by Ike Andon of the Phiihannonic Gon-
certt — as will be leen by our account of tita latt of tbote per-
form ancea.

TTie beautiful septett by neethoren was, as a whole, charm-
injriy performed ; though the riolin iodulf^ed in a few of those'
JriJct — the result of f^ent animal spirits, we snrmisc — that are
rather inimical to such Kolid, lovely music. The duct. "Parto!
tiloscio," from Maver's /.oi/oitio', ia an exquisite coropotitioa. '
So is the terzetto,' by Mn/;.rt, tiir.n Hnn Ciorannt, "Ah!
taci ;■' but instead of Madame Paata, as announced. WO kiC
M aderaoiselle Uonini aa bcr aoketitute ! In anotha^tanMo wo
find Mademoiselle Marmonl eet down as a pupil of W Acaoeiij.
It b tkaa kaeoaiing^ a school for grown-up hulie* ; for this per-
■ iNWn ainfinif publicly, as well as pritately, for two
eanpast. Miss Bacon'* " Frenar, vorrei" we hare
ia a foregoins; article. The remainder of the present
concert was made up of music that really is not worth naper and
ink. Valuinff then these materials at scunithin?. and estimat-
ilHf much hifrher the time of mit readrrs, nc refrain from no-
ticinptbe r.idnis I'.ix Cris. Murl.K a.ni id i^rntit omne.

A Bumerous and mo«t respectable list of aubwribera wa*
prfalMdiBiha kick of «ii o«M«i«s hetaf ttalittfartha eeaiok.

benefit contett^

rOA THB BKAaON UH.

I wnwiHii mtm ■ II ■ — '

Sfom ArMMunriir-nMar. llay Wlh at tta Ayijll

Boon*.

U'e omitted to mention Ihia concert in our number for June:
it was supported by all the vocal corps of the Italian opera,
tuKflhcr with Mi*« Paton, Mia* Love, Messrs. Bq^oa aad
Sapio. Madame Sxyn»aoow»ka on the piano-forte, aad Hn
Kiesewetter on Hm tUta, 4MMk^ aadiOMO kf ttdvpnx'
fonaaBces, aad iki ivhalo WOat «» g»oa* aoM,

Digitized by Google

THE HARMONICON.

153

"U^ LlMOWt'*,— Friday. June Ifltli, at tlie Argyll Roomi.
Thi* m on a more contracted k«1c th«n the former, u to
m>l BMUk* but Um initramatal «u axreUeat, aal tiu com-

Gut Mmma Wa»aa'«.— FtUir. 1^
ArgyrU RmMit.

On the prvKut ommIm » C«ntiitJw eoHlled Thi Fistitai. «r
Fbaoii. br M. ««a If iter. »m perfonned, vhh Eii()i*h wordt
tMMM iMlrflMrfMH.b7Haa«dMlVMiMr,BM|. Thb, il
•diMH1»lmi«p%«M WHpwri w thtVSStgti flanaj. and
Ika MCtrr* VbUiiiM MVaem Tnrjr appropriite to our coairtrjr
at lie piimf niMMBt, fc. wv >i* Informed, tnintlated tttm the
Oennxn. Thermre f>me finr efferu in thin Cnntata. in two of
the rhorusses paniciilnrlv ; bul il wa» su injpprtVrtly pfrrurmi-rt
for want of necessary rrlif .ir^nlf, tdn' » i> cannot pret<-nd to liiivo
fiimied an accuralc judifin. iit nf il» iii(>rit». It <irtupicd tlic
whi)le iif tliL- first part of thf ruDrert. In tlie second part n new
air, (oiiipusp'i for and siinirby Mi»» Stephen*, WW introduced*,
the poetry from LaUa Heokh, and accumpanied by M. ran
W«bw hiaiMlf oo Uw Bi n a fc Ha . The MMrinf aft thttranb
to wUch Ihii eoBpomm waa Mt: —

' FMm CMadaia'a mrbUoip feml I cone,
Can*d by (hat noon! i|:ht (•rlaad'a ipell
From Chinttam'" fount, my fclfjr hoMv, ♦
W here in mu «lr , nioro aaa sigMj I dwell*
Where lolet in the air aia kaud aboot.
And voicet are ainKimc lha wbola day lo^gi
And erecy mfh the heart bnaihai oM
It tan'd^ M M leave* llw lip% (oaoaf!
Billwc I come
Fkeai my (uiif home,

Andif dNfA a ma;ic in Muiie'tattaiai,

lawter bjr (!><• breath

Otlhat moonlt^ht wreath,
Tbj lOMff akall aigb at iby feet ai^ia.

Aadatlneamflie wnaimng, dying note*.
That (kll u loA ai ibaw on the tea,
And melt In the heul inalanlly !

And Ihv pa»»iniialr strain thai, dt-cplr )roia^,
Ufhni'stl 1- Im:mit!i it tr<'i:iltU'3 IJiruii^-li ,
A* the miuk-wtod over ttic watcm bloiru^

BsAae the wwrae. bat awaaiwait tool

SakbiihatlcoM ^

mnayiaiiTbiMi^
Aad IT tiMiira • ■affie In MaH^lliaia,

I twear by the breath

Of that moooUght wreath,
Tby lorer ahall >i^h at thy feel a|^io.

Only the melody Iwd been coininittt-d t<i jiapr. Titc mni-
puser when it was performed lupplied tJie nccouipaninicut* from
A ineniory of his detifro, fvr the (bort intemil alloired hiai
preriotuly to the concert pratreatcd their bcior let down in any
itaici aa4 it aajr penapt baeoaia a wMilen aniwf the
mniiiifew nTthe pfMeatdaylww that can be beit Sled up wluch
M. Tttn W^cberleft unGnitlied.

Iff. Braham lanj; a kcena from the FrrucAiitx, and Miu
Pston one from Alalia, by )»ber. Mr. Kiesewetter executed
a Fantiuiia on the viulin ; Mr. Monchelen performed extarapo-
raiicoudly i>n tItc pi.m. ►-forte, and !H. Fumtenau jfare a Theme
froin OArrnn, wiilj s aiiationi, on tlie flute. Beudei these now
named, Madame Caradori, Miit Cawae. and Mr. Pbillipi
aititted at the preieut concert ; but we refret to add, and bluah
for our coaotry when we announce the fact, that the room waa
not lUHh Mae (baa bair «im aMaMfftta iMMvaar mn
verjr tnr tl Hu Mlhait daai. tf. tmi Weber bad acafcelr
Itrewftb aaa ai h Ulfcta get thmugh the buxians ai conduru<r.;
at the aaadaaoa ha tnraw bimaclf on a lufa, and wai m ex-
bawled aa to create a conaidttable aUrm in the by-^oden.
Tea dajrt aftenraidi be wai a corpee !

• IV Air wai eonpoaad at lha leqoeat of Williaai Waid, Em.,
the newlr-elrctad M.P. for the city of London, who wiehad tM
Baion Ton Weber to wiil* ■omething expreMly for Miaa Stepheot.
That (anlieouui, wo an iaforaed, eccoBpuued hi* applicaltoa by
^ libeaal gnnm, aaly aCa awwhat af iba eiiy "

Mr. liEORRz'a, — On the lamc eveninc, at tli#i man»ion of the
I) tike of .St. Albanit. in St. .lanics a Sijiiare.

Most of thr prrfnnnert of the Kinr's Theatre ronlribiited tlicir
talentu on ttiH ■urasion: and in addition to tliem, Mr. lleffrci
had the aui&tance of Misi Palon and Madame D'Anreni.
Bciidei theie. Madame Szytnanowska. M. Beriot, and Sienor
Puzzi lent tbeir aid. About fotir hundred peraooa, chiefly of the
f adOoaaMa ««rU. attaaM (bia coaMrt;, the tiabila brief aaa
jpiinea each.

Mr. Mori's, — Friday, Jiinr i'n l. ,\t the Argyll Roomi.
Thi* waa a good (election, perforuied by nearly all the fore!>rn
itin|:ert, to|;elber with Miu Stephen* and Mr.Vaiighani. M.

Fhr>tenau, Mr. Moechelea, Mr. Lindlej, and Mr. Mori executed
vaiiaae piece* with good ef
crowdeiwilb company.

Idle V, and
and «b«

M.^uAaaD'AVvaaiTt — Tueaday June 6\h, at the same |>l;ii e.
Thi* wa« a mominr concert, in the im.iUer room. The per-
formers Madame D'Anrer*. M;(tl;imc ("ornepa, Madtiine De
Vifo, and Mr. Bcgret: also MadcmoiicUe Schaurotli, Meuf*.
~ and Puui

Sranaa Pvasi'it— Tbwidaj, Jana 9A, at ChctaieiwWhy

All (be nalaa eaeal eorp* aHended, and in additloa ta
~ " ■ - — Mi»a Wilkinaon, Mr.

fauBia D^Aavfre and De Vigo,
; aha M. Beriot ani M. Scbanba. Tha
idfawir Baaevene aai elenat :

M coajpeay ma
ene pMwa eacb*

ekgaat: tbetldulai

Mr. Dm'*,— Tn.'sday, Ju%c 13tli, at the Argyll Huoihs.

Thi* wai a morning concert; ilie vocal performers were Mile.
Honini, Miss Dafon, Sii^nor tlurionl, and Mr. Br^rez. The
initruiueiital Mr. F. Cramer, leader, Metart. Fuxxi, Nicholaon.
Beale, and Mr. INak The bMer pbijrad the coacerto that he
executed at the efacft PhUianMale^ nd alee tome rariationa
with Mr. Nicholson.

SiGN'OR Dr Bsoifis', — Friday June 23rd, at Uie taiue Rooma.

Signor De Bcgnis collected almoit erery singer in London t
there were many whiice very name* were unlcuown to ui. The
1 oncfrt waa chiefly Tocal, and several piece* new to this country
were produced: many food, soinc nthonvise. Mr. Miwchele*
and Mr. Kie*ewetter imparted a Tar'rtv tc thr -I'ii't ti.in hi their
excellent performance*, and the company was exccedinglj'
naHrooa, the etate of the teaaon being contlderrd.

The Masters Schi;ltz' Mu*ical Entertainment*.

It ha* been our lot to notice few concert* more interettinf-
Ihan the present, either with respect to the clioicc of the pieeet
icifen, or the admirable wanner in which they were executed.
We have liad nccauon in the course of our work to speak of tliete
youthful arti»t<, and m thr com crta t^iven by them and
their father in their native country; and it gives u» ))leaiiure
to *ee how well Iher have been received in our own cuuntrt,
which is bccontiog laudahlir euuluua of the fame of iiermany
and her artlitB. Abaea all* «a aia bapar hi baiaf able to-
record the pfateeMaa aal mm b eetaire i apaa flwa brlba
most enlightened of aautaan, otir (ntciout SoMre^. Tbnr
Itave twice been tent for to W^iad*«r. to eihibit Ibeir talMa
before the King; <m the Utter ocraHion he ialuted theae ti^.
fine and inleresliog youth* by the title of " his two little TniubB>
duurit," and begged they would hitid theinsclvcs In readiness
to vi»it him frequently bi'fnre their dcpiirlurc. llin .Miijcslv
was particularly plea^cil with the twn new instrumi-nts now
ftnt introduced hy .Mr. Scliultz into this cniiritry, ciUod flic
Pkjflkarmonica, and the Jioloilieon, iit^trttmcnts email in
dioMaaiaa, but potrerful in producing great l>eauiy ami delicacy
of toae. A Mi p»mrrt tor the lurroer inttrument and two
goitan, in wMcb oar aatbHtal aatbeai wm intfodueed, and
given, not at an air, preieatiag aeepe for MUlaat variaiioni,
bat ia its true character a* • hymn, particuUriy pleaaed. Oa
Wedaoday the Slit, we beard these T^aag arti*U ; the ehiet'
ezecttled ime of Kalkbrenner'i most difficult fantasias, with a
brilliancy of finger and a force ufj!X|)re*«ion| that wmild have

dune boaear to the

After tbia folknred a

TBI BUMHBHIOOK:

•TflMRMlflvK .

formed by the hiker Md jomfrt von with « plajrfulneu, p^c,
and fifour, tW an larely iritncMcd. Wt truit that thete
iMritiHimn arttiU viU awot with all tha aawMingmwt their
ahhad IdwiM Jiii r w .

Brama«

Om ThundM',

Coi»U»TO fMe4e9 in Corinth J th«

King's Theatre.
lit, the grand terioat opera of Mbdia m

cocnptMcd by Slayer, vraa pfrlortufil lot "
PaMta, for the tint time in Enf^iand.
<Tconlc», hin^j r/ Corinlh -
iEgeai, King of Alhetu ...

Sip. Pearo.
Sig. Toaai.
Mad. Pa(Tii.
Sig. Cdriohi.
Mad.CARADoai.
Mad. t)« Akuku.

Creoaa, i>««9AI«r af Creonm -
lameaes, C(»tj|i/<ra/« af MeJtm

TiHcu>, Confidanlrof ('rronlr$ -
A l*ric»t - - - .
Havinf in the prf:»*nt number devoted »o many papes to tlii»
opera — haviiii; fivrn a rery copicius iiniilyfis uf the 'Jr:uiia, .ind
a (election from the music, embrarin^ nenrly ajl that i» niixt
admireil and t»(r*t calealated for private perfurmanre, wt have
litiJc left to add. except what regarda the representAioa uf it.
fa ■ waiA tkH, m wmm «f Ok wmk k tkamt whuti v atcrib-
•Ut to 11a Mtuf of Madww Plata, ftr Baiterly aa the muiic
Ji, tile bulk of il k not of that popular kind that would hare
•tamped the opera io aaddealy aad ^addadljr •• a faronrite,
iritkout the effect of her Am taleata at an aetnat, whick are
fbllr e^ual to her voeal powen, and raiae her to a rank tlwt few
ItaJian perfurmen in ihn emintrjr have ever attained.

The gentleneis with which Madame Caradori represent* the
character of Creuta, so well contraited to the fury of th«
iloM-rti'il Mf^lffi, and the qiiift loaimpr the wijely advipts in
siniritiij ttit variiiut piece* assifnc«l to Ucr, entitl'- Irt to irrcal
pr?ii»i'. Ciiriimi't Jaton it another proof of hia ability, both aa
an actor and lanfer ; and Porto, as ttuitaining bate, is efficient
is !>■ ihi — l T af Oreaw. « The net in tilenre." eniept the
■Mi nni Bf p a iai lTely iU-paid uwiwetwi
J tka fanpadimenia h haa to o*en«nN In iMi
thanm^antfrite* m bf what it reaUf data neaempKih.

On the 8Ui of June, Roaiini'i come epera, L* C e m er mt ola
(or CinJerellai wai revived, forthebcnent of Sifnora Bonini.
Thin wan prrnirmeil tifre in 1K80, and failed, even with the aid
of Madam« Brloc, for whom it «'a» composed: it on^ht not to
be a matter of wrmdcr then, that with so iininfe resting a per-
formrr UB now f\llisi tlit> prini ipal rhs^nictiT it Nhmilil tiot niKTffd.
But the fact i«, that with any prima donna it would potxes*
no attraction for thin country ; the muiiir ii full of feeble imita-
tiODi of the conipwer't other work* ; the onlvjrood parti of it
' Im IMljto JITnriM l» JlMii, and but oue

fi fVMlMltaMffOfcie, and
t ■wmMot, Awrt fdM, wkidi h Caran, having
fem kMralttcCd when the opera ira> fint brouriit out, in oider
to impaminiriliin KhnmwiVtoHI-TUi
w» n««tepgatad,MwfraMlf iHilAet«rlcrt

London,

Sijniir VeUnti took hit benefit on the ?9nd of June, on "hlrd
occ*iion 111- produced an opera eeria bj Hoaiini that had never

been perf.miietl here, ^ur^faMte.
were thus diitribated : —

Aureliano, KmptTr^r of K -mf -

Zrnobia, Qtim <i/ {'almyro, and loter of
At-natf - . . , .

Anace, Priree of I'rrtta -

Yahha; Dauijhirr of faltrintm, itrHly

Ornapci, OrneriU of Palmyra ...
A Priest

tifMitolKkMt Wa* ^ _

ecpreii our eanteoipt, — and the eontcnpt of all wtto have"tlw
smallest pretensioni to offer an opinion on the subject, -^or tU>
moat wearying^, miserable work. With a view to laatea ita
insipidity, some pieces by other coin [insert have been inter*
pnlated ; bnt SHcresa has not attended thin attempt, (ar they am
•piritlesa as the rent, and only tend tj Hiiiiuy the liearen br
protractiiw the performance. AmoD|(*t these is the «e«ii« ia-
tlw tecottd act, for ^eee, by that very dull pla^ianit, Mcrca-
danle. In lien of a new arartare, SigiMT lUisiioi, without thn
iliirhteit hmluH ti , frtfaad ywtbelMgtat tk« JS«r«i«r« dt
Swi/riia : and tihia woald entainlr Iww taM ■effaced, but
that Sifnm- Spafnoletti feh toaie tbtibta aa to pflMpliato af
the neaeare ; so substituted Chenibini'a, t* LMihwtXmniitt
H was not a little entrrtainin); to read the eaesmenti en thia
opera in two or three of the daily papers. One of them deaeribed
with KTr»> nirrty the relationship of the overture to the ra
acenes, and appUniJcii the fkill of thi~ co<np<i*er ia thus rend
it so complete' a prolof UP lu the drama. A nothrr praiaed a <
that wac umittnl. A ihinl wa< to t tiutiii as to pronosinen
Aunliatui to he Uossitii « chrf itmirrr but an this critique
waa written in one uf the drebi-iiii; ruoms of tlic th<ratre, it
eacitad no turpriie. We never yet saw the house so full uf

« l afiiaii w» t h a nit ma atuddad with them, and ataonnt the
haaliim a anbar af iHlla hajt, wha^ not havinf been weU

Aiigalaadtta

Dbuby-Laits TnAi

On the S9th of May a new musical drama was prvdueed at Oaa
theatre, tkt KnigMt o f the Crou, or Me Hermitt Prophecy,
beinp the Talitman of Sir Walter Scott dramatiaed by i/lr.
Beazelcy. 'I'hc nmiiir, beiiijf chiefly selected, and having
nothing new in it that rcquiraa ttptirinl notiee, need not ba
furtiter mentioned. The pM* aMMaM M «il M —j l M ^
has succeeded here lately.

The FreifcAiitz continued to i>e performed, and was the only
thing that drew comnaay. JkMm haa not been repeated, to
mhara lartwdMMt af IwartwiW uAaapaMMT of ita
■tieBMlM. Halb H lw ilia g i6r<hnaawaBthe«Hh

fligaof Vui«n.

SiKnora Da Aaobli.
8ifBor OavitLB.

This has lonf iK-en known abr<»«il a* the weakest of Rossini's
hastily ctmiptiseil operas ; It is eicn inffrinr to Si^mn- ?
fetaer choice, 7ceMrfo e IioHim, which baa been so jnatly con*

afJa

Cotknt-Garden Theatre.
Oberox has been represented twice nwl thrice a week to a full
pit uiid pjUlery, hut to rather thin boxes. It is much improved
By the subitiluiion of Dnruset for Fawcrtt, in the ch^iractcr of
Skeratman ; fiir licincf a sintfin; part, with but little action, it is
much better s-niii'd 141 a ilcciiliilly vocal perfunner. H'e should
be glad next scatuii to tee the' cfaaracler of O^eren likewiae
trmneferred.

Thia opera wm pat ftW to i as f b t nU f, 9mm tta 191^ wHk
the iniastian af tnaaflMlaf tta net proceeds to Vaiaaw
Weber: but, alait «eh li tha aatare of public natitnAa, that
the expencet of tba dteatra wera leatcelf cleaRd! Aa a matter
of cunocity, we AnnH be riad to know, kav many of those
gentlemen who put themselves to snmr eTp<Tise in order to
attend the funenil, — to which, let it be rrmcinbcred, ercit
publicity was eipcrird tn Iw iriveu — how mnnr, we would fain
itiquire, contributfil itie aiiuill mm of seven shilJiupa, — or even
tlirec-and-tixpenre — to obtain an uaositcnlatiout seat at a per-

toriruinrc iluc to the deceaicdL oA wbiBli wtajBlaMApd to T
his widow and children?

At MMtfMr kaaall (to mb-named) tdM M fth '
Ike atnoglk alT 9m naBu opera, Maiam Phata, IKh ~
engaged; wtmskl ttevaina nollfa(^pa«»hi««Mdait1hi
doora. Tha aaatois a anmailU nw, aiaaai «a MAhTs *i*
aftdaf Ana.

English Ofera-Hottsk.
This Snnuaer Theatre open* on Saturday, July Is(: amon;
the Company are. Miss Puton, Me»«rs. Sapio. Pearaian, I'hiJ-
lips, .\tkin6, 1;. Snmh, &:i . We have heard tli.il Hoieldieu's
hnnte Itlnmhr and Winter * Has L'nterbrochem Of/et /eMt,
( I'hr /nlrrruptrd Smeri^rr) >ire to he ppKluced, AftfMaM*
ceatuf the iwnier no doubts need be enlortainwt.

Digitized by Google

THE

HARMONICON,

No. XLIV., Avamr, 1826.

MEMOIR OF WILLIAM BIRDE.

WlUIAx Bird, the worthy vaA admirable scholar uf the
profound Tallis, is suppoMd to hove been the son of Thos.
Bird, one of the ^ntlemen of Edward the Sixth's Chapel,
in wWch be was himself a «nging-boy. By the ^at
nmbtf cf his eccleaioKtical coropoaitioiw to Latin words,
•ad the aemrnl portions of the Romiah ritual which he so
Inqumtlrart to ■nrfe, uulpabBrfndhtoia Hfeti be

«»lwfebeeiil«ttasmlottt«dheNiiitothatKiigioB. He
■MHtf hownWi ■■TC CMiAnMd to dw dwifcb citiUiili*

of Qncca EBnlMlli'a reign ; tat, in 158S, lie was
I organlit of Uneoln Cathedral, where he continued
till 1&69, when upon the acctdental death of Robert Par-
aonn, who was drowned at Newark upon Trent, he was

appeiintetl Gentleman of the Ch»)iel Royal. Xot n i'h-faiKl-
iiijT which oflice, he Sfem>i to have conipiisi'tl the i liiit |);irt
of his chiirnl music to Latin wiinl-, iind tu hrivp jiiiiilislu-i!
it in that lani^B^e as lute us the inirfdlc of tlic rcifni of
Kinf; James I.

In 1573, it appear<i by the titlo-pa-rp of tfie Cmiti'mct
Sacra, and the pntent annexed to tli:it \*.ni*. itiai he (mil
Tallis were not only (ientlemen of the Royal Chapel, but
Orgiinifit to her Mnje»ty ^ueen Elizabeth. Indeed both
must have been great performers on the organ, to have
been aUe to play such of their pieces far that instrument
M alill preser%-ed ; in whidi the passages, thongh awk-
' to performers who are only accustomed to modem
t have been suggeMed by hands which were ha-
to tlie oomplieeted, and now almost invincible,
of the mteentii oeitaiT. And Ihongh lha
beyed-iaainiHiewl^ lny theee great matt-
tm'of b ai Hw ny. are tatblljr mdnpaasioned, and without
fnee,HlainipoiilhlaBaltongaird<beir ingenuity and ron-
fttfaneein tbetBlnnof the pwts, with respect and wonder !

If we coniddcr tha daborate atyte of compoaition which
prevailed, particulariy in the churcii, during the time of
Bird, and that he, like his master Tallis, was nut only
omlntiDiis of \ anqul^hinf; i(K iis\uil (lifTicnhics in tlie con-
Rtnictioti lit fiii,'iic.s and canons, hut soufrhl new rnniplica-
tions, per|ilrMtit-s. urul itivolutiotis in the niDtinn anr! ar-
rangement nt' lln' partH, — the fnUowiiirr li^t (if his works
Mil not only i:ianl(i"-t diiiicenci' Init ti'ciiiiilily.

Besides the ^jreat share he had in the Cantiorws SocrtP,
ynblished in amjunc-tion with his master Tallis, in 157!>,
when his name hrsl appears as an author; and without
enumerating many admirable compositions for the church

* feraeapgpoC ihis paieat»aae
▼ofelV.

und chamber still subsisting, but whicli were never ^
or at least not till after hie de c caae, be publiahcd—

Psaims, SonneU, owi Smg* tf fldhw and PieHe. «f/k>e
ParU, 15«8«.

Liher primus tatrarum Oaw fMMia n, wwtyif t " i/ u, 1 !}S9.

Songs of sundrie Naiuret, aamt tf unmHe, and otkert of
Myrih^fit for nU Compamet€md ttgm, 1580 1.

UMT ami 1610 1

The last work published by himself was entitled, P$almi,
Songt, and Sotmelt ; some loimne, tOuri roj/fiU, Jnmed to
(Ae /(/<< of Hw m,nl.,, fit fir Vtgeai er Wall ef fbw, jtar,

Jitr, and six partes, 1611.

Dr. Tudway'a eollaeANi* fa tl

• 1 luj ivi.rK ii il. Jii .11. li 1,1 Sir rhriil<i|;!i<-r llmton, Lord Oban-
ccllor, calhng it hii tint productioa to English worda. At the
hack of tba tills we ha«*—

" RaaiMu briefly lel dowaa by Ui' Aactor lo ]
" to learn to ting.

" I. It i* a kaoirlrdfr ratily taught, and qakklj aeuamap
" there i> a jrood matter, and ao apt scohr.

"s. Theexcrcite of *iosin( UdaHgiiiftii ta aalaH^and goadia
" preierve Ibr health oC ataa.

" 3. It doth ni ea t t fc e a all pweor the brtaet, anddaihepintba

" pipes,

" I. It i* I tinpilar goad leawJia Ibr a NatlMiiig and •lammeriaf
" in the cpceeh.

" S, It i» llw 1>"'»1 mron* to preierve a perfect pronounci»lioB,
" and to ni»kr n ^n<.,i i.Mii'<'i.

" 6. It is the ool; way lo know wbeiv aatare tialb bralowcd the
"heasAielaiaadfiayeei •Mchfiftisaaiaaakaathawisaateoa
"aaiaugai atiieawndlhitbathtti aod ia maay tliai •seaUeat (ift
" im Inei, bcraaaa ihejr want an art In vxpreaae aataie.

" T. Then* is Bol aay nuaickc nf imtrumrnU wliatioever, coropar-
" able lo that wliieb is made of Ibe Toycei of men, vhrrr lh<' voycei
" are jcood, and ibr aamc well sorted and ordered.

" 8. Tlie ballar the voyco U, ibe meeler it is to hooouraad aerve
" Gad ihawwiih ; aad thet>ej«e el wan b ehtely to ha eai pl e y ed

"IwUkt

t Dedicated lo Lord Hoaadoa ; to wham, as ia the preface, he
bbH-rvr«i that " aiace the publithiac hi* lait laboun ia aiHaickir,
" the exercise aad lor* of tne art bad eicesdiarly increaaed."

} The flril book of these adaslrabla pieeea of hannoar ia dedi-
cated to iIhs Earl of Northampton, who had preTBitrd on Kinjf
Jamei lo nagnicnl the aularies of ihc (;rin]itiji'n r,f ihc ( ha pel
Koval. The aecond book la dedicated lo lx>rd i'elre. Theac com-
poaiiKina are ei^uulW grave and aolerein with ihoae of PaWslrina lo
the muoe words, and seaoi ia ao lesfact iabriof to lha ahmal wotka
ef thai gnat aaiiHr.'

Digitized by Google

156

THE HARMONIOON.

taint ft wluih aenlee, in D miaor, hf Bbd, with responiet,
and the anthems. Sing joyfutty unto God — O Lord, htm
iky wrath — (all published in the second and third vohiraefi of
Dr. Hoycc's Cathedral music) — Ohtrd, imxh'- Ihy si-rvani—
Siii<' Hit', O God — Pri'Wit us, O Lord. — Co itiix ■aiu tt tuo,
one of his Socrarum Cuntiinmm, or Sik red Soinns, pub-
lishcil in K)S9. h:U( hevw lonsr sllUjf in our cntlii-dniLi. to
the W'.ii'i!'-, " /j'i'ii- !hir,r ■•ai\ O l^iril," aa<l i-- OHf nfthr ;i<i-

mirulilf picieB of liariiiuiiy iijtht Necoud volmnc ol BojCf't
primed coilrrtion.

Dr. Aldricii, who was a great admirer and collexHor of
tile works of Bird, and who adapted English words to
moot of his comfiositions which have been used in our
cathedrals, and that were ori^nally set tu parts of the
Bomish aenrice in Latin, has bequeathed to Chriit Churcii,
Oifln, beautiful and comet «0|iiiM of oMat of his pradnc-
Imhu. In the amall qnaito Mt of hooka atwiMtj nien>
tioaed. near ibrty of his eonqiorilions arejiRsmed; and
in another set, many man, irith those of TMn. Tavemcr,
Tyc, White. Bedford, both the Mandys, Shepherd, Bull,
|Md other ootemporary Eugliah marten.

His pieces for the orprau and virj^naLi arc almcMU ianu-
■Mrable. In a lua^iiticent ftilio iu«iiii»i.i.n|il. curiously
bound In rrfl ninmcco. idrcLidv iiieiitioiUHl, wiucii Is (ijene-
rally known liy ihc n.init' ot'IJuBBN'8 £LIZ\iiETH'h \ iRui-
KAL Hook, there are near seventy of his coiupo<!ilioah *

The fir'^t piec<% by Bird, in lliis Loot, aud tiie eijrliUj in
tJto LoUei lioii. is a FtVil.Lnti, w iuih (generally itnpliei, u
J''u,jir\ ;ii wliv. Ii ■■Mhjerl. i-- !is jri'qucntly cbange<i as io
ancient choral niusir, where new wordit racflure new nc-
oents and iuterrals ; for m yet it waa not the omtmui, in
ooaaposioK fuj^nes. to oonfinc a wholo OMreiMBt to one
theme ; and here liird introduces 6n or
eat and unconnected with each other.

The subject of the 8econd composition by Bird, in the
Boyai Viiginil Book, u the tune of an old ballad. " Join,
em»kit$mtu»D," of which, with 0reat kbow nad iafe-
miity, ht has variod the srrnmpanMiils alMeen difiereat
wtya, fbr iririhthe treMe, baac; or some inward part, i»
olwayi playing the orif^inal air, three other parts are mov-
ing in iiigue, or nmning rapid and diflicull divisiotis. No.
AS is another /^iM<:(t■ ; and 56, a Fmvn by Bin), uhi li
implied a grave majestic dunce, in common time, siniihir
to the moTPin.Til nfthc IViu opk. Tbi< stniin v\ ; iisuull)
followe<l bj (lie (i.Lihurtl ; which, on tlie conlrary, wn» a
gay and bvely dance in triple tintc. but on the Muae aub-

• This book. comH; valuable for its aMaqsity sad eMiono, ^> .l(a). The wtt(iB(; {■ laiall.liatoiKoin-
nanljr Beat, u|>ob nx liaes. The eomp«titioiM an in general ex-
tremely clnboralc and dtficoll; particniarlv thnv h% Birrf. Dr. Hull,
Oad Giln FarDahK^, who have all ecmlribult>l lii-rr-l v in (In- f.krrnini;
ml thia vohmw, which coMahl* »«w ihrre hundred pi««re§. The
flnt moTemeBt in Ibc book i* an •» Ei«li>h Mae, railed WaWag-
■SJ!i'fcI?™^'"* * ending in a awjoT, which Dr.

Ball hae varird, in a motl fall and (mmplicaied style, thiity diflcr-
eot way*. SIrnoia Mancarita, tb» wife of Dr. Peputob, when riie
*"•**• ■PP''*"' clo!^l« <n p«»eli«e of the harp-
sichord, upon wh.eh uinuumeni •li- h.ci.mc a gn*i proflclrnt.
Ilowercr, «l(h all Iw-t o»b dil.Kcnc- and UilenU, auistnl fey the
•cieBce and cxpeiieoce of her bmhand, tlic never vtaa able toVaa-
S^t ^'«cuh'" of thi. piece by Dt. Bull. And icvenil of
Pr. P cpwwrh » frirndi and pupiU, who weal tre(|urally to hit apatt-
■MBtaat thf Charter-hotH*, iiav* bmim) me, that thoMrh thii aia-
aMerifa ww conataBtly opea upon her liarp.it hur<t.<!. .k, ih.- wvrr
Mnnced to the end of the Tariaiioni ; m «-< n.» liki wur nmn.fr,!
•MB the coloar, as well ai wear and loar, of the learea, which ate
ZTSbSSmC '** ** *^ part ef the book,

W Thii vsliBa la n«v in the Biiiiah 1

jset as tfw preceding Aunt. No. M is cntiflsd Tht Cbr-

man'i Whittle*. From No. bS to 69, the compomtions are
all by Bird, consisting: chiefly of old tunes, with variations;
atnonpsl which is Forluw, a plaintive ami f x|iressive me-
lody, to wbich the bullud culled Titus Andr'-micut' i com-
plivnl, inserted in tbe IMiqurv of Anticnt English I^otHry,
vol. i. p. 204. was orig-inally «ritu-n. It luts been iinuff'nefl
tliut tlie vii^ for variation--, tli^it is, multiplying notes, and
disgTii-,ing tlie mrlodj of an easy and generally weil-knnwn
air, by every nieuiis that a qKurca no(a, or nr>if-'j)litl'-r, sees
possible, was the contagion of the present century ; but it
appears from the Virginal Book, that this spedca of m-
Jluensa, or corruption of air, was more excessive in tha
sixteenth century, than at any other |>eriod of Mosiod
History. Crowded and eUlwntC as is the f
uncouth and antiquated tha mdody, of all the
this c oMsction bf numm wjios s ia , then ii m.
superiority in fhoM of Bid over aH tlw rert, ImOi in tex-
ture aid doigp. In a later age, his genius would have
expanded in woriis of invention, taste, and elegance ; but
at the period in which he flourislMd. notUng aeeoui to haw
been thought necessary for keyed-instnimeuts, except va-
riuliuus tu old tunes, iu which all the harmony »'u^s ci nuilcd
which tbe fingers could grasp, and all the rapid dni.>ioim
o( Llie turn s whiih tlu y couUl execute. K\en nominal
FuJUJ ,1 svere wilhout iaiicy, and conlined to tile repetition
Hi a lew dry or uiuiieuuiug notes iu fugue or iuiiliiliun.
lincntion was so young; and feeble, as to be intaUe to go
alone ; and old chants of tbe chnrcfi, or tunes of the
strecli,, were its leading-strings and gxiidca. Though the
Kcloniiattou Inul lianistied superstition from the land, frag-
mcttU of caiUo fermo, like rags of popery, fttiU remained
in our old secular tuaea, and continued to have adniisaiaa
in the new. Indeed, the melodies of all the rest of Eu-
rope bad no other model than the chants of tbe church,
tiU the culUvation of the MiatedL Draawi whcnca all tha.
rfayUun, acofot, and giaoa of niodiin ■aaie hna — nri-
festly lieea derived. ,
Bcaidce «e gnat aonbar of Biid'a oon|KMitioas Ibr
kcyed-inatnimeBis, vrftidi are preserved in the VirybMi
liook of QoecB EHxabeth, anooer maauscript collcctkai
of his pisses still safaaists, under the name of Lot/y A'enaflr
Music Book. It is a thick quarto, very splendidly bound
and ffilL, with llie f;iini\ -arur- IxuuUfully embluzulied aad
illuuiiualed on tiic lusl pafj-e, anil the initial.s h. n. at the
loweU left hiujd-corner. The music ls all written in l.irge,
bold characUTs willi great uealne^^, on luur-sitiived jiaper
ot six Hues, by Jo. Ualdwine, a sinirmiT.man iil Windsor,
ajid a celebrated copyitit of Queeu Klu.ibetli's time. The
pieces contained in this collection, sixteen of which are en-
tered iu that Queen's Virginal Book, amount U> fbrty-two,
with Tariatioos to nuwy of them, of the moat laboured awl
dittkult kiud. The asMw, both while aad black, ese of tha
losengefboB. UkadHsaer llMpilHlsdaHMie ef tesane
period: rg— ^Zlfl

Lady Xcvill seeou to have been the scholar of Butd,^
who prufcsaedir eonqpOMd eemd of the pieees lor her

ladyship's use.

None of Bird's pieece ior keyed-inataruinents seem to
have been printed, cuept «%iit awvemsBts in a thia ioUo
book of lessons that was anenfed on ooppo; aad pdb-
risfaed u the 1^ af XiMlSiBee wider (he'lbllowte
titb: "pAnuma, or thanridnAeadordie flrst nuiieha
"dial evarwas frinlcd Artbe'ViKiasb. Compoeed In,
"three ftneaa laastew; WlBiaBa Byrd, Dr. Joha Bul^

•TUswe

in OSS pi

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"mnd Osluido Gibbons, Geiitlenten of hla, {f^juftfo tnoat
"■tilwtriouii chappel." Tbene Icaaana, tiuNtgh no* equally
difficult with some of those in the Viif^nl^kdlCB of Queen
EMwbtth and Lady NefiU, ue ntlMr taota diy ud ua-

The canon. Aim AmiMV tff^ feasM of hk
wmk» published- by hfaaielt or-eolMtoi by oflicm, hefore
th8 ywt when Hilton Imtrtcd- and prefixed tlu:

nunc of Bird to it in a collection of Catches, Rounds, and
CwwH-t ; but a!< no claim was laid to It by. or iu fiiTour of,
any other compowr, before or idnc^ thiit liiix'. till about
the iiiMille n( the |)resent century, wlion rt was tjiven to
PolcHtrina liy Carl Uiccititii, who in lloUuiul,

among: hi'" concertos, n tii«jiie in light jiarts, pn the
subject, there .seems no doubt ot' our couutiyuMn Bird
hav in<; been the author of that plwriiij'aad popuhr fiom-
poHition.

Bird died in 1623, Rur\ inii£r his inaMerTallis lliirtv-cijfht
years ; and if we <iiippi>sc Ijini to hare bo<'n twent)' in the
year I^fiS, when he wan cho-«en orfranist of Lincoln, he
mat have been etfrbty at his deceaRe. Pokdian, in his
Ctmplflc Gentliiman, s)H>aks of him with great rewrence,
ardocs his pnpil, Murlcy, in hio InirodveHon^ aa well as
vr and muaical writer of hia owa and later
. At this lOMMa pcdod. but iiitle, hoawrcr. CMi be

»IMk Hugh waa too
■ tobam flirnMicd hiatny at any thne irilfa events
«f fHwral iDlcfM. That ha waa a dUigent cidtiTBlar of
Ua ait aiipaan flam bit aunennu works, which are more
tha {mdactioM.of ■ wdt i l iMi and study, than of htuste
and anthuaiaam. That he waa pious, the wordn lie se-
lected, and the solemnity and gravity of style uitli which
he set tln ni. vulT.: i. i vmr,\ <)) |; s mural (liarjicter
and natiiriil tlcposilion lijcre tail, psThap--, lie iiii tcli-
moiues mure favourable, or less suhjeit to •^ii^|)ii ion. ilian
thwse of rtMil profes'rtjn', with whotn he a|j]iear> to have
lived, duriiij? a Ioujt Ufc., with cordiaiily ami friendship.
And of the (^■oodue^s of his heart, it is to iiie no trivial
proof, that he Icive<l and wa.s helmed liy his muster, Tullis,
and schohtr Morley ; who from tJicir intimate connexion
with him, must liavi- seen him cn niM- tie cltambre, and
been B pecta tors of all the operations of temper, in tbe op-

ON THB REQUIEM TO THE UlS IfR. WBBBE.
JMmm SnMk m H * tfMlMltmmtt CWM GhA.

Ir it may he nUciwt-il to ndil a few words on an
nrticb" alrt fiHy rrvii -.-,.'.! in voiir nnmber f.ir May, (the
Reouiein to the late Mr. S. Webbe) I would l^g to follow
up tbe JudiciouN remarks of the retriewer — that when tbe

mind is tasked "Thither with respect to line or style

•' its creative powers are dimini^ed, &c. ;" b» sa) ing that
the deal h of a man who bad ^gnnUaed Unudf iu hiit pro-
fession as much <u the late Mr. Webbe bad done, would
hatdlj have eKt^ed the attention of either his poetical
iMMeal-Aiends tn the way of rfegy, monoJy, or some
■mnirial of departed tasic mid i;eniiis, 1 can sjhjuL to
dibfkcion the present occasion— one rinnjKisiiion f>f an
eminent raosici&n was shewn to me, j.riur to the inviia-
tioa j»iven by the Noblemen's Cnteh ( luh ; niitl nthers I
know to have been already at ihil Iinif \i\ lining.
Wliether the authors did not' choose to bring them for*

in ee nwfunno of the aanonaBeaem ftoM Hfc b CUfc
Clnb,! MkwtMcpiad taaajr; but I am prepared to saj
that thaaa apblemea would not, independently of their
iBTttitfaNl, have been without some specimen of poetical
Mttieal sUU, tributary to their worthy cecieiary, on
which to bestow their premiaiu.

Another way in wbtcb the noble members of the dub
diminished their chance of collcctiuj; the moet exr eilent
compositions, was ^he n'slrictinp the yririleif^ o[ writing
to the honorary ineiiiliers of the club ! These {;entlemen,
it is true, Impfttn to be conipii!>er.i as well as siii^^s. or^
Ht least, have composed, ur tried their hands at rnmpoai
tiou : but it is well uMlentaod at their election as hono>
rary members, and sueb. i« certainly the chief con lempla>
lion of the tubscribing members themseltrea, that Ihcir
qualification as tingtrs was the es«enlial poinL

It will be eeilninlljr Mtcded that Mr. Knytwtt to «
writer of great taat* anA degaae^ Ihni Mr. linkjr inhn-'
rits IwKgay «t that faiMd genius, and that wildly ex*
quikiie melodionMeBi. which ihoue so coosfMcuously in
his late father; and that Mr. Heal, is a m ry o rrect
writer. Xeverlhekiiii, this is not e.s(Kxittlly i>ru>«l by
strings of perfect oibs ("so full, so clear,'") even qua-
lified p'T miilo amirario, ui\\<.-%h soiw striking eir>A.t in
coinpeiisatiun Im proditoed. Yetmu.st it be also udinitted
tli.Tt v.o h.nve ulee or elegy writers, even of the present
d,i\. I i l<lin- ;it leait equal rank with any of the gentle-
men ofiw named, to whose contributions the noble mem-
b«>rs thus closed the door! Mr. Stevens, to whom your
reviewer alludes, and who is perhaps not so much, at
least in the business of compositieB, out of acli«c life ai
he suspects, might not impotsibljr have contributed hli
essay had the invtlaliOB been genaial. Unit «• not w-
gret the hm f

Saeh mm tba liberal plan of enlonnigement extondal
by this hialilnlion, in the enrly period of its eslabligb*
ment, to that truly ^i^/iltfA style of mu.<iic the Glee, an
improvement in ease and eh jtiince. speaking generally,
on its precursor the uiieieiil inudrigal. The great de-
cleiisi.iii in estimatiun which glee.s Lave .sustained, may
pnihabiy be dated from the discontinuauce of that eu-
coiirageraeiit ; the result of an incautious or ultra-libe-
rality in the original plan ; for not only was ihc invi-
tation to write general, hut there was no limitaliuii fixed
to the numberof compositions lo be sent ». These beiin^of
four different kinds, viz., Scriuns Glee, Cheerful (ilee^
Catch, Cunun, anti a certain numlM^r of copies lo be token
of every cumposilioii ; thus involving a weight of expense
which alUr awhile threatened ruin to the finances of the
club, a ruin whitdi waa at leiM^th arrested in its pro-
Rress by the serioiis raprataatatbaaf their late respeeiad
secretary, aad a fMolaitoit thence adopted 1« dtaooatima
the practice of giving peanuaMM, for the ttoie present.

• IC is a citrrniis fiict. related to nat- by the »rcrptarj Mr. \V.'f.h»
liiniM-ir. and lo him by hi, iiredrorsior, Warr»n HorT>e, l .r, j ;i .a
under tilit unliutitt-d privilrgc. the imv Dr. Cullrou, who iiu» ilicn
in an-eaily »tu(;e i>t his iDdu«lrioub utiJ in^-i nii>i.» careir. forwarded
bis glees, &c., lo the wcrotafy. i<-iittinl; much to iJip ciedii of bis
noM ittiefoiigal»le enMiaim ia.acmaaMD wiae Aotmmv a smellw
ynhieic not (nCMnr to eMtoin linat Tb Ihia iHiMMai It it
prn[KT 1-1 ud.l («nd which I do most cnnsriwnliotraly, ■■ a Irihale la
111- iriliii-d tfi'nuna* a «ritn).(h«t ii wns raAw-TMni/ In the limi-
Uilion lo twrlvr pirres only frnrr, iM, h i Bii<)i<iiUr- a limitation rrr-
lainljr raaullinc fri>m tlip nt>ov. -nnht r.l |,i--<lii;hiu!i C-, MndiiT— (hnl
Ur. Calloett eajnycd the hoaou table and unpivcedriried moDopolv
or aathapi e uiiaM ^iM a fctoae jwt ttr fhnA^ln
■■a*«. llr.Wethalbstiis fcUe gaiaaa Ikm, but never A

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THE HABMONICOK.

•MogellMr. A liaiiUtion of the nnmber of compositfcms
t0 be sent by each candidate to twelve, hid been edopled
«ome time before, but not eariycBOTCh l» imttthe M-
tevttj of ibe nllciior raofailiaa.

IkeHtemhamime keooeeMloMlly i^vealarthednb,
tat obIv uiongst their own homntj awBlMfi, at in the
cue er the Reqaiem. TMs d w rteaee tai tbiNlbre
effected nothing towards a restoration of iheanef ^eei.
As a genuine lover of a species of njustc wmch I tbink
especially entitled to cultivation, bt^rausp it is exclusively
nafional, I hope to see this dibtiuguishnl Institution in its
present prosperity return to the more enlarued priricijjle
of general encouraftement, by receiving the compfisitiutis
of jjlec writers from any part of the British Empire:
and if only one premium be given, only one compctKition
be admitted from each candidate, and onljr om copy be
Bade additionally to that sent by the composer ; no very
beavy expense -would be incurred.

I beg, in cooclnsioD, to revert to the Requieoi, the main
•bject of my intended remarkc upoo Ant eddicning jou,
cad dadMtoadd, that I am ineiMble at ymt te-
ilaiNrof dbearering why No» • AdaW bava guaad fha
pmnaa. 1 will Dot preaaow tore-ieriew ibe woffc, but
•imply wiib to declare mj coavietMti that of Ibe oompo-
sitions sent in, the |>w w f — ce oBgbi i» bait bean given
to the poet bimaelf.

Ia^8ii^T«an.lk«.,

W. 8.

ON OmOANS.

To the Eoiij^a o/ihe Hakmokicow.
8n, Mnf », iflM.

The lovers of that noble iiulrument, the organ — to
the very general cultivation of which 1 do not hesitate
to ascribe much of the atkimw Iwlgeil superiority of the
Germans in the science of music — are indebted to you
for reconling in your pi^es several iiulites, frxm which
it would appear that its me is gaining ground both in this
country and in the United Slates. — (See Vol. II. p. 2^2,
Vol. III. pp. 88, 133, 14S, 170.) To these you have
added, at p. SOO, a catalogue of the stop!! in the organ
at Haarlem, from Dr. liurnev's Mutical Tour, which is
also given by him in Rces's Cyrlopadia, art. Organ, and
if, M Ar as 1 know, the only detailed aoconnt of the ar-
laaianeut of any of tbe^reat continental organs that
bai'WlaU bdtan ibe fiutbb pabUc. I am. thare-
ftre, ladaeed to send jea a iinilar deaeription of Ave of
the organs mentioned at p. 170, viz. thoae at Goerlilz,
MerseDurg, Hamburg, Weingarten, and Tears, all of
■wliicli art- l«r(^iT ihnn tliat at Haarlem ; in the hope that
it may prove acceptable to many of your readers,
I anii 9itf jjiNua.

GOKnUTZ, t PPER I.tJSATIA.
(The orpin in tin- clicm li of si. I'rirmn.l Si, Paul wan built by
Eugvniua ("aspnrini, a^ii Im \iUn\ llniatiug, in sii vran,

mad coBMcralcd hj ■ Kileuui •vcvice, Augvit lt»tb, 1701. h hat
69 iioiM, M of wMsbaM whoto and SITO pipes, tn of

vbich an of nwttl. The lewua in Itont ahcw ibov* 980 poliihed
melal pipM, Um Uxge* of whieh, F hi iha pedala, ii 94 feet lour,
and contain* tl,9Tl'cabi« iachnj tbm ai* (vo odavea of pcdaki,
the lowest note of wbic^ C, b bom a pipe Si Cm ia liagUi, lai
then an al«o T odn» o( 10 tet| il feat t MW* €i kqs^ U
pain o( bdl»«s.J

SII KAT ■ A L.

CHOia ■ANOAL

t. OeCov* prhtt^^ . . S „

5. Fom htimanm , . , B „

4. I'iolila^mba . . 9 „

Ltutniiijm . , . 8 „

6. AVm<#, fifth . . . 6 »
T» AflMTiMlOTff • • • 4 !•

B.taSMNMl . . , 4 „

9. .f (opf diafaiion . 4

10. FififrtuA .... a „

11. Flu'^f.Ut . . . . 9 „

12. htflh iibuve . . . IJ „
I t.fBitttu*h-pJHf* (leed

■lap) m m m m

14. dariM . , . . —

15. ATMan .... 4niilu

16. BonAard (tromboDe,
«acklml,ar|MMaoae}l6 tet

I.
t.

wood)

4. Orfar*

5. FluU .

6. FlagntH

%.\Supir>

1} . 8 tel.

:c7|itM

• ■ * n
. . 4 »
. . • »

9.^BtU > ,

tO.t&nlMWM. . . . 9 n
W.MiJtttm .... 9rBBka
IS. Cymbal .... 9 „

Tha taat aiaa an aU of

swBu aai

I. Prmrtfi^ll .

8. iSttyiC dtopcwM
4.

S.<Mm«.

4 feel
t .

a .

1. Ortai Pt i rn d p t U ip^fttt

1. y y iwt w s . . .la «
SLtnusHb liw . . -.li .

4. CAo/mfpjfaM . . a j»

8. ^lifU . . . . > * „
. 4 „
. 9niika

e.^awaCWMSi^tlMr.

Ipoi] I) „ «.t7Vbar«jlW»

T.fSnUriiH*. . . . I „ 7. Uittttn . ,

9, Hatun .... Sraaks SARtuUe , .

9* Afutaiv *
AUofmalal. 10. Tntmpit . .

Il.tCtriTrn royal

IS.tJu/Kt/. . .

IS. Cffmhal . .
li.fTubart Jtulf.
IS. Suprr-otlatt ,

ia.r

IT.i
19. <

• J»

8 fcct

Siaaka
8 hel

• m

• «

MER8EBURG, SAXONY.

[The Cathrdral urirnri liiii li siopa, M of which are ^tmmrnmmm
containing 8 pipe >l 1 1~ fi n, nnd 2 of n Tret ; 4 rowi orhnsaad
pedals, lU aovad-boatda, aad 6 luge jwin of beJlow>.J

feci

eaiAT aaavAi.

(irrat /'rineipal{meU\)6
RohrJi He (reed (lop) 16
Qiiinlnjrn . . .16
Chalmry .... 0
stmtdiifmm , . a
8

Ortorff ... 4
Or7iri'(slo pi diapason) t
.Sftquialira, 9 rank*, 11

Oetatt 9

dfMurt .... 6iaoiu
Cymbal • • . • S »
TrombMUttlt 9om-

a 18 feet

• a H

. 41
. 4

. a

. 8

. *

. 9
. I

9.
10.
II.
18.
13.

14.

I. Prituipat.
i.tSoKtitmal

S. Slaf>l

S. Or<ac«

esoia HAKOac

I. /'rmn';>a/(metal). . 8 (iar
9, Hnnlu» (wao<l) , .16 „
S. I'iol da gamba (iaeUi\) H „

4. RtyhrjUke (do.)

5. nagttit (do.)

8. Jmmi,«ImI (do.)

8 RokrjUlt (da}

9. Titn»
10. Mixtw .

II. lemi
19. CAofaMy .
lS.t6'(aAffjiM

4
8
8
8
9

afcet
* m

Faciog the Choir at dtetwek of

■he Otgast'M.
1. Printipai .
9. QMNtodfM . .

3. Sfpl diofiotm .

4. Do. (umall scale)

5. Primeval (do.) .
8. fimU ....
T. StajM «^ i M ia(«a>al)4

8. FtaqmtH . . . . f
». C/utHf, (iia(U. . . 8
10. TitTa. .... 1

4 bal

H „

8 n
4 *

Digitized by Google

THE HARMONfCON.

159

.16

t. Pr

9. Treaibtm , ■

tai:

. . . .Ifi feel

10. rmwl . . ,

. 1

2. (irinr,-

(do.) . . 8 .,

1 1. .1mh6nt$ . , .

.89

3. Suhtmu

(wood) .16 „

19. lloUm . . .

.16

4. Fifth

(inctBl) . 6 „

IS. SMoH^mmXita

Ik) »

5. Oriaw

(do.> . . 4 „

U. OrMM (do.)

•.Ante

. . 1 „

15. FtagntH , ,

. a

•Hik*. . I H

16. flute, oetaW . .

. 1

» • • H

IT. Trumpet . , ,

. 8

■ . Thoit flOfiiMikad tdo not

list, md I UB not able to ^ve an accurate explanation
of them ; all the rest are either familiar to English or-

fanists, or will, with snmL- varintion in llii' rir(hr;jrfi[ihy,
e round described iu that list by Dr. HuriiL V. Tin- lotal
of the stops here enumerated does not ai;rt'':- *Mlh ihe
nuinber stated to he. contained in each organ, nt p.ii;e I 70
of Vol. 111. < 1 ihr II ARMOMCON. Pnibably riiiinv ii(

the smaller and half- stops are omitted ia the ms. from
wfcllinH the abmre is Uken.

(To be oantinved.J

ANOTHER FRENCH FELON.

"Henry, who watfnmiFrly director of the Opfr* al l'»ri«, lui(
Imcb wmvictcd of forgery and drttruction of deeds. Hi< »en>
iMoa it ten year*' hard labour, bmodior, th« uiikity, aad
dagnitelaa AwB the Lefrioo of ttmoar. « tfUdi Iw had bm
^WKAn^—ftHru Paper.

Hn above has appeared among the recent news from
Paris. If the said M. Ucmy did stand hia ground till
the hand of the Imr Ind ctwclMMl him in its iron grasp,
and has really undergone tin ccraBoniet of " branding^,
ttM pHlory," and consignuent to " bavd labour," he must
be a greater fool than he n a ro^rtie. How came it, that,
irith the recent example of a noturioiu countryman of his
•wn hefoie his eyes— <a pigfcnor 4if nuiaie too)— delected
im rindiar acts of foigciy, and, liikt Uni^ eaiiJwnined to
**hraiMBiig, the pillory, and hard labour," bntvhe mm
■telkn It iaif* aaMnig the good people of Londoo— be
flonM not tann* bioMctf by flight, and bellow oa Uw
lamliitBb ■iwliliiiii, and comisicnt leaden of flie mnfienl
Mpoblie of London, the bicarfnga of his presence, hia
virtues, and Ms example? He must be a poor timid
villuiii imli't'd, to sink ut oiiLf under a consciinisncKs of
cnnie, und a dread of it.s i-oiii*e<|uencc5, while such uii
in»Uince of the magic power of inipudence nnd compli-
cated villainy stared him in the face, as thai of the ureh-
ftlon — the musical rcjicpade — who fled from Paris in 1817.

M. Henry should have followed that example, most
CcrUiiniy. He should, by hi.s forgeries, lia\e con.sig^ied
his nearest aud d«are»t friends to endless impriiionment ;
he aliould have committed a sweeping robbery at Kome
public assembly; he should have deserted his wife aad
child and fiUher — (though the one died brofcen>beartcd,
and the otliars were starved to death, no matter;) he
Bight then, bj aimply stealing a horse and cairiago, mve
nacbcd the ooaat, and the aale of the atolcB pi«f8it)r
would bava defitayed his exu eneee to London.

Hmm a BOW Md would have opcMd Hadf ftr the
dBiplay of bin genuH; for it cfer banpens tbii • aalect
portion of what are in England called hiahionable people,
are ready to receive any foreign pretender, who puts him-
self forward with the necessary j>ortiuii of ii:,|ni(fi nnp and
quacliery, to the utter neglect of native talent aud wtiolly
wgaidhw of tbe hnportof » nbmiiirr

To a certain number of siioli persons, M. Henry might
have made him.self partiailaily njirceablc. Following the
example of his felonious archetype, he might have plotted
— aye, have led to our altars, and mocked our sacred rites
by going through the forms of marriage — with some no-
torioua Cyprian, some cast-off demirep, and disguising her
in the asramed liTcry of virtuooi life, have faranred tho
feelings of domestic society, and fttsteaed • ffitndaff iMdt
on our haliita and institutions.

In ahoft, M. Henry should have act ibot hi Englaad
a thorough-paoed m£—ma tbe other FaritioB Aifcr lM»
emphatically been caikd— n triple^nniid ^sin. -Tbii^
had bo added to tho qaallfications of a ibrger and a tUeft
tbe ItartiMr pw te n ri o M of bigamist, swindler, pimp, aad
wUKd, Ua cndu — as far aa prcocdent could go — to be en*
trusted with the " moral and religious" education of English

youtfi (if }M)lh spxi's, und ti i beroine ;i direc tor of the pnblic
und prnute unuisemenls of lliu upper classes of Hociety,
would have been irresistible ; and. by the same nde, he
would have been qualified for becoming an active apcnt
in ihe " pious orj^'ies" oniisiurwitly ollered up by rou-
gregated thousands under the venerable domes consecrated
to the woiaUp of our Qodl

AM8WSE OF HKrASTAHO TO TH8 CHBTAUBR
D6 CRABTELLUXrS LBTTBR,
Wkkh mpjitorrJ in tttt Uammohicoh tf Koff iatf.
[New Int psblidhsd.J

Sir. f'imna, 1 \i>i Jan. ]Tr.6.

Had 1 seen some few olympiads Icks, thr vigour, the
erudition, eloquence, and politeness, with which you have
pronounced the eulogium of music, would have induced
me to abandon every other pursuit, and devote myself ex*
clusively to that art : but, at my time of life, it would
not surely be very praiseworthy in me to imitate sooM
of the worthies of ancient Greece, and betray my dotase
over my l^Te. However, I am oni^y requited for tbia
inoH c ieBqrt b; tbe phunro of tnding myiolf ao ow^
io accatdaaee with one wbose ftvonrulo Kgud I «m
uudooo to eoart, as the surest support of ay opinioni.

We are both ouite perfectly agreed that music ia •
most ingenious, admiraole, captivating art ; able of itself
to work wonders, and capable, when united with poetry,
of turning its immense richer to account, not only by
aiding and enforcing its expression by the {wwcrs of
imitation, but also of imparting a twofold energy t<i all
the varied emotion of the human heart. Noverihele.ss
1 feel assured, at the same lime, that \uu will join me in
condemning the abuses to which artists have, in our dayt,
Bwbjected so delightful an art; borrowing at baitrd tbo
BOcfnctive qualities of the former, in defiance of eomoMi
■enoe ; not unfreqnently imitating ihe wild finj «f tb*
tempest, when it would be more suitable to tbe
gentle calm and repose of nalmre ; or tbe infuriate joy
of the Biiiiridw, inolowl of tbo pniMmd friof of the
Trojan ikfM er ibo loppliut Aigivei. Honeo, th>
confused ipccMitor, langbt to fell fowion8 aad oiboHoM
altogether at variance with tbe poetry, it indnood to con-
demn them both ; or, at all events, is reduced to the mere
mechanical pleasure derivable from ibe harmonic proper*
tinris of sounds, or from the extraordinary compass and
tlexibility o( some singer's voice. 1 could well pardon so
imlwri i U an ibwo oi thofMt of tb> w wi a d wmfum.

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THB HABMOMIOCNr;'

It M Inf^ wonM anawtoaw itniige, Alt h* ihNM
fcal iapAlient to maM llie diipUy he ecM af aMM
■o dmuMcribed, and fee! less icnipaloiis of Un maMT
la whidi be adapted them to his nec«i<utt««. Bat wbetl
we know that there is not a (Mission of the human brwwt
which cannot, in a hundred different wnys, hn vividly ex-
pressed, and powerfully streiiglhened and adoriKnl, bv
this admirable art, why should an outrace to reasun and
common aeiue bo borne, when if is offered btuilinudy and
without neoessitj ? 1 think you will sep, Imm what i
bare said, (hat 1 am no less partial than yourself to
I laaiie, and if I have laid (Mt I detest much of the
I mogie of the w wient day, I can mean nothing
I the enw of tboge aodeni artialB who diafignre
tit

Brn taMuT t nftatety eti ea d o i ii wwee of conaola-
tfan, <• flke|R««f afbiM ne, by jomr hit letter, of yoar
intimate a cq na iataiice with Ae Graak theatre, an ttc
qoaintanee which oaimot hot enmre the unanimity of

Mr onininn?:.

It has bwii well ohsrrved by yon, that thp (ir>:t fathers
of tragedy, in order to fnrnish mii^ir >ntli o|)]»rtunilict
for thn rti'-play of its beiiiilies, somi'lim' s c hiingr, in the
inoLilli iif (he ]K;r>vUiaj;es intr<n!iif'ed, iua\ i:i <!oiiroriuit y
to tbu change of feeling in the passagv, the usiiol
iambics of the tragic measure into anapests and trochaics.
Nor can it have escaped you, that the same perionaE^t-;,
■tag sometimes alone, at others together, and again in
turn with the chorus — strophes, antistrophetf and cpodes,
metres which by their very nature requtie that ipeciei
«f mosic Bud bjr w im tin, and which jon pivperiy (Ua>
liiigwsh by (b« tmm ptriMeA Ham, oj • aatural
induction, it ntij bt concluded, Aal ear pcaetioa of de-
lighting the eoM «r the spectatora kj the aoAer aiiH and
ariettas is sanctiMad hf Iba tWIga «f the Gfpah poets
anil musicians.

Di> not imagine, sir, that I have fnrfjot yuiir exborta-
lions. It is your wish, that as «<• use llii- term republic
of letters, we should also use tlial ol ihr r'-public of the
arts; and that tunsequenllv poetry, music, uimI the other
sister arts, should live in a friendly bot perfect iiide-
pendeoce. To confess the truth, i am no republiaiu : i
cannot vnderstaitd why this, in pefcrence to every other
ftm of fOTH^ment, should boast exdusively of virtue for
ill principle. It would seem to mu that all are subject
to inflmity and decay ; bal in ay view, there ia soue-
ikiag TCiy MdaoliTe ia llie veneialik exampfe ef HiHcme,
iManalanlhari^; Bar hai»I yet iumi any latiMMlMy
Nfly to the axioai, Aat the aKNt ilmple ami leaat eoa»

eoaled machines are the most durahie and least imper-
{L NeTerlbeless, as there is no sacrifice which I would
not willingly iiiul,e, to be in perfect accordance with you,
behold me, .siiiff- such is your wish, a true t'ofirert to
re|)ublii allium, liul \i,u >vill in' pleased lo remember,
that ibu^e luo.t ri^iij and jealous of npubliiaiis. the
Roiuaii.s, «erp mi jxir^uaded of the advantugf ot nullinrity
when toikct iiiranil m n siij'.;le iodividnal, that in all times
•f particular iliiUt uiiy and emergeoey tlwyehMc a dic-
tator, and that when i)iey fell into the of dividing
this abiKilute authority between two men, Fabius and
Miaucius, they mn the risk of lomn^ it altagetber. The

•lid ta

u of
tha

a dmrna is an undertaking «f a ntj
nMtad aidof all lha Inaaito it i

Does mnsic aspire to tha npRme anthoritj f Let bar
have it by all BiaoH; lat tar aadertolte (he cboke of ttia
•nbjeet, arid flie managaawnt of the plot ; let her ^ide
as to the personages to be introduced, and as to their

characters and situations ; let her plan thf. decorations ;
let her afiervvards invent her caniili im, ?iu(! bine n r-oiirse
to |)i>etry for suitable verses, and iiuinl>ers i rib ulaled in
'■\ ery rcsp- i t lo aid her inspirations. Hut if Khe ishrink
Irotii the task, (Minsrious that of the many requisites ne-
cessary for the execution of a drama, she possesses merely
that of the science of sooiids, lei her leave the dictatorship
in iIm! hands of those who do possess them, and, fol»
lowing the cxaai^ «f tha haawled Miaadna, rnnliMi
that not haawiag Iwv to c— — ad, It is wiN to km

liow to abmr.

wthatfaSkaaeayoa
thcMaiaaailHlfBi

Ikaowl

• HriotI
mtoUMi,7QatfaMh4hid
mnsic ought to act as laialM*, and cfmaad aa ia her

proper domain. But the same circnmstanoe did not de>
termine the ancients to create a di^itinct theatre. Among
the six necessary requiiiitcs for tragedy, in order lo con-
stitute a perfect whole, viz. the fabli\ the characters,
tti'- dii tii ij, the I'limieiatioii, and the decorulions, .\ris-
lolie also rec ktjiis innsir. tiiouwli he plm es it in the last
dejrree. In fact, it is impossible to address a nndti-
tudc of per&ons, and make oneself clearly undcritood,
without elevating, distending, and sustaining the voice,
to a de«^pee veiy strikingly diffieratt from that of ordi-
nary s|Kaking. These uterations of the voice demand
the aid of art to rogaiato their proportioas, othcrwiae
they would produce Mdly^modnlated, disagreeable, and
at other tiiBw yidicahwn, aoanda. Ihii is no other thaf
the art of atosie, so nrrsirr in order to attoae lha
ear of all those wiw seek to auie a pnMmj ia paUia
■speaking, and which, when applied (o this art in parti«
cular, a&huines the name of decUmatiou. On the theabs
this art acijuires aiuilher and more distinct feature, and
beeuiiU'S so modified as to he capable, ol drpiilioi; in
sounds all the «ari<-d etnutiuns of the iniiid ' l>ut sliil it
does not maintain tiie iirst pla(«. In the 1 * ric ttieiure an
action is repres<-iiled, a plot is arrange*! ami developed,
the sister arts uf painting tav\ the dance are calleil in
to give it effect ; hence music is juatly said to be ia a
house which is not her own, and A st sfaia ihaaM as ! at
to play the mistress there.
I aaght to entreat |>ardon for having so long trespsasad

Eyoar patience, but 1 osaid aot lightly ibicgo th*
ore of opeaing mj bmmI Aes|y to oae af to wkA
ing, joined wnh ao Meh iiapastlalily, as ynarsslf.
BMt iudispensaUa dotics tdaim mf attaation to allier ob-
jects. However, shoald I ever fiud leisare for so doiag,
I purpose to digest and arrange a series of observatians
wliu li I luive made ii{wn the Portics of Aristi>lle. a work
that has lutiL' pnived the subject of mv studies and
iliwiUuti.ms, In these I have diwusseil the subject of
the * < reek Drama and of Greek I\liisic ; but as the remarks
vwri' Mi.tiif sidely for my o»ii pri>(ite instruction, yoa
must not look for much method or clearness of arrange-
ment. Nothing will afford me more sincere pleaj>«ire
than to present joa with these fmits of my studies, that
I may eiijsy tha bcaefit of yoar critical opinion ; hut it
must 'be «po« «aa oaaditioB: ms^ that it diould not bf
altowed toiad itowar lato tha anblie ioamal
theaasawiib ihalflttsrta _

toSMHaf*!

dn^n adfaaeiidi^SEiivb k

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THE HARMONICON.

Mwired (qpiaiotis of die daj, mad tberefore ofien u> much
jfaMlla^ Might yet be defended wHk advaata||« ; but for
■lAVamlMt i an not at all qmUied, eittmr by oature
W iiirliaiitiMi la dnsmHeaof that kind, I aat rare you will
mn»willh ae, tfaait D«t too ofitea th« deaire to gain tb«
tmitmy m tfce aig i w t pndoaiiiiateg over the pare zeal
for trath» and Awl UMbimw and ill Mood wc aioTe fre-

Jaently tha Nadk, An atttity «r w » irt i M . Besides,
have bat iittie leisara, and ibat lilt]»ii iM drined by
the fair miUrets of my beart, the paivot «f He lyre, who,
the wnrl<l is pl<^ased to saj, has not been unpropitiooK to
her votary, nml to whom latitude at leMt obliges him
still to {>«v hi'i honifipt- ; thtjiij^h, in the opinion of some,
be VULJ perhaps run the risk of incurrtng the censure of

Sain ■MMmaifm malari mm t^acai. aa
F i s wt mi a i l miBi nt rMendM, et Dw daeat,

I mu, with aU lopee^

Touii fce.»

VSTAVTAaiO.

ON THE JEWS HARP.

Tki ori^ of the Jew'» harp it lost in the long lapse of
time, and, iutlnd. lu'vcrtill now uf.r.iLlcil sufficient notice
to be worth the inquiries of niimicai anti<|u«rics. This
little iiistruiDent in ia very common use in all Europe,
and more especially in the Netlicrluidit and the Tyrol,
where it is the delight of the peaMialB and tbdr ftmiiies.
Uw Jew's haip is also known in Ania, and the Greekn of
ImfiBa call i, in imitatioii of its nound, biambo. It i'<
CoaapoMd of two pait% the body and the tongiie, deno>
■linatad by the nnch lha tout.

TbB hadr has aoraa Mmu «o Ika tamOt aT a

aaMta khid rfmilatiiaa i lha to^ae ciMlila of a Btde
aMp of alsslk jafaKd ta th» apfMr part af «iia be^. and
al ite gc ti ea tk y. ao Ikal Hm lu f iia laaf toodi it
aMK eaaUj. Until our time it baa only baea ased la per
fcrm trifling airs, requiring little modulatian. and rimple
in maaiier. Mr. Eulensteiu has, liowevcr, uc«iuired a re-
putation for his pertbrmsnce on this sinjrti'nr instrument,
and is niiu'h talked ot in the musicul circles ol Kunijie
The Mi'mmrt <>/ Wu/iwi'- (/<• 6Wt/(i first riiiidi.' known Uie
liintf powers of a poor German soldier on the same
mstruincut. This mtisician of a new kind ivan in the ser-
vice of Frederick the Gi'e.-it, wlio tin<li\>!; h!ni--e!l one ni-rhf
on duty under the windows of the kiuc', plaved the Jew's
barp With <u} much skill, th;it Frederick, who was a great
amateur of music, thought he heard a distant oreheAtm.
Surprised to learn that sucb an effect could be produced by
a sinffle man with two Jew'n harps, he ordered him ijito
bis presence ; the !toldier refu<<ed, alledging, that he only
could be relirred by bia Coloiiel« abd thai IT ba obeyeo,
tbe king would pnnkrii Un tkaacM Arr, ftr fesfbw fidkd

tfaa, iaoaladKodi, haa aa haawled^ of nraaic, and owes
kbaaoeaaa aaida lastruiuent entirely to his natnml
laate fw the art. Korh made his ("urtiine by trarellinft. and
playing in private urn! public; und now liveii retired at
Viennn, at the advaneed of more tlmn ciphty yeiirs.
He aaed two Jew's harps at once, (in the same manner as

4kap«MBi*ar.ikaiynl{> MdpioAnaivHhoMMU;

the haniiony of two notes stmek at the aaate aioDKalt

wiui h «.is considered by the n.iiHicBlly-curioufi as sooMh
wlial evtraordiuiu^', when thu iiimlctl powers of the ilistna-
roent «ere reinenihert-ii. It »vii? Koch s cii.'-tiiiii 1'i rfquire
that all the li^lits slioiiM e.\liimuLslit <l, that tiic iliusion
pnxluced by hi'- (ila\injr mifrlil l>e ihc more iisi,isti-d. it
was reserve<l, howe\er. tor Mr. F-ulov-tem to aci[.iire u
musical reputation on llie Jew's harp. Ai\i.T tcu years
of close appticatioa and study, tliis youn^ artist ha.s at^
takied a pcMM'IMalcry over this intractable instroment.

In G:ivitipr some account of the Jew's harp, considered as
a tnedium for musical sounds, I shall only present the
result of his diaeoviiics. A Jew's bam, ta kaa a iagt^
girea ahatam gnaw soMidyon any win to pradaea^ aa
a third, a fiftb. or aa oeUva. If tbe grave toais ia aot
htaidiathalMia#'aharp. kimiitbaaliiiinlad,BOtto
the deftctivaieaB of the instrancait, bal ta Oc player. Ia
examining this result. 3ron cannot help remarking tfaa
order and unity established by nature in harmoaical bodtab
which places music in the nink of exact sciences.

The Jew's hiirp has three (liflercnt tones : the ba-sa tones
of the first octave hear some resemblance to thoM of the
flute and clarionet ; those of the middle and hiffh, to the
iur /<«mfi;in of some organs; lastly, the harmonical sounds
are exactly like tho<ie of the Harmtmim. It is conceived
that this diversity of tones affords already a great variety
in the exectition, which is always looked upon as being
feeble and trifling, on account of the smallness of the in-
strument.

It was not thought possible to deri%'c much pleasure
from any attempt which could be made to conquer the
difficulties of so limited an instrument, because, in tbe
extent of these oct.aves tlicre «ire a number of spaec*
which coahl not be filled up by the talent of the player \
bcaidiB, lha Bant simple modulation became impossible.
Mr. Baknaleia has remedied thatiiieoavenienee» by jofaiIn|p
sfaMsca Jew's baips, wUdi ha tnaat placiar saialht
or greater quantities of a«al^(r*«az at the catraad^ of lha
toni^ie. Each harp then soonds one of the aolea af lha
gamut, diatonic or chromatic, and the petfcrmer can ffll
all the interv als, and pass all the tones, by changing lha
harp. Tliiit these mutations may not interrupt the meap
sore, one har]i must always be kept in advance, in the
Hiiine inanni r js ii fr-.jiiil render adviintcs tlu' i-yi-, nut ujton
the word whii h he ]>ronounces, but upon that nliii-h fol-
lows. Tlie various sounds of the Jew 's liar]) are ol tnined
by the uttrnetion and repression of the :iir, the current of
which is broken by the ti iii;-.!!- nf the iii.-lnirnei!(. The
pressure of the lips, with the breath, ser'. e to determine
their gravity or aCUtenes*. It isheiueto he eoneeived,
that this curious iiutrument is very tatifruinp to the
lun^, and pernicious to the teeth. l>ecause its application,
when the tongue is put in motion, prodtices neariy the
cAct of tbe vibrations of a diapason. By continual
tlLlthitJ of Us iUU and atte wt i en, Mr. EulensUin ha.s sur-
monailad a hast of difficulties, and not only astonishes,
hni sslinflri aU «ho hsar him. ' Be has cnployed ihm
lasainces af vt aad mdaMff ta andwaftlha.aaia of Ua
andilois. snliM «Ml sMMto haw haar aUigcd to
render Justice ta hb tahata. Tha aantaan have agi^
with tlie oempoMTsin appharitaf tfiadiandnf airs of Mr,
Eulenstein. His Tariatisas apaa Mie afr tamHp^H
cannot be more a^freeable. 1 hare hoa«! him w t 4< twi* a
duo with Mr. Stockbausen on the pedal heap ; (ba hMv

aec()!ii[iini\in£: him j;)77i( -"mii. and touching the chords

bgtotly^ so that M. Ealcasieta's part in the duet could he
pttfaily hsaidi

.18B

TUB HARMONICOir.

It is nfrcttad bj iMKjr penaaa. who allow all due
I to tUi Jtmag utUt, that he hia emplojed hia time
tmA triiiln ■> Uboiioaily to perfect this moat unmteTuI
immnMoL TUsHgnt wonld ha JaaWif Mr.EnleMtaa
•VH • ■nrfdm, lika Koeh» wlw ody UMiilad tUa lilia
nrhibt hia harp KM te Mt mmtki Iwt B a Unrti i n k s
'good parlbniMr am Ifaa TioHn, and my diUtal «n tfia
f^tar; and he now applies hinMlftOihe study of com-
poeition. and intends to establish Unaclf at Paris for some
time on hin return from Entfland. His friends cannot too
TOUch cncauruge liim to complete this desigti. With the
-talent and patience which he has proved he po'^'icsscH. he
x»Jinot fail to make great progress on the guitar, and to
continue hoMonhly tiia wnha af MM. Har, GandU, and
CaicaaaL

BOUBSB&irS Mvnc.

Eiiinburijlt, June H

IK2e.

BlR,

I send you one of tlie airs of Rousseau's celebrated
J)evin du ViUitge, with an accumpaiiiment, in the modern
manner, for tiie piuno-fortc. As u nitisiciun, llousseau
was far from being a skilfrd artist, — but he wn.r their enlightened views and
mund criticism, as for the eloquence of tbeir atole. He
was the first French writer (for he was a FkaMhBiaa» in
idatioB to BlentMtc) that awakenad Ua c o nliju iM M i to
• ««Ma flf tha hamtiaa of ItaBaa sHMfe, and framad ttMBi.

leaaure, finm their attadunant to LuIIi and
10s own muieal conpoations bear atronff
niarlts of the same refinement of taata:-^i8 melodies are
simple and inartifidal, and have a litUe of the Gallic ac-
cent ; but they have much of ihe grace and elejfance of
the Itxilian schtml. They are, too, very expressive, and
nicely adajjled to the cm|)huNis and accentuation of the
poetry ; and it is not one of their least merits, lliat from their
smooth nud natural stnu ture, and mrMlciate cdnipavs. tluy
are in tt.'iuTiil very ea-^ily sung. It ol'ttn occurred to
tnc UiLit luf uirs ui tlu' Ihinn <lu Viiliufi', witii a niottern
accoiniianinicnt for the piano-forte (instead of a dry and
meapre bass), would prove a very inlerestinp; |)iiblication ;
Jiud your insertion of the specimen now sent* (if it
happen to please you), may |>erhap8 induce some musician
of talent lo undertake the task, which would not be by
r difficult
I am. Sir,

Tour very obadBtal servant,
O.H.

THB OlUniESTRA OF THE KING S THEATRE.

Tu the Editor of the Harmonicon.

Sin,

Undkr the head of " Kind's Theatre. " in ymir last
Nuiiiler. you pay a flattering compliment to the abused
and comparatively ill-paad orchestra" of that establish-
aoit} hot pariupa jou mra not aann of tha actual

• ii>Mrt«dispa|si4ik«rih»

Ifsmbot.

sCibs

smount of the " impediments" wUch it has had to oviN
come this scoaon. Hie intnthielioo of a bevy of bejt. In
Ihe exclusion of many naliani perfonnets, wfen tni
laaraadbyeipotiaaealiMMUMOf » doty wMch aotUiy
fiMft kwf ekperianeamntaaA, waa tha b^lnnlnf of onr

afdia Oaaln: dm nnaiiluda oT*

not one of whom seamed to Imva the least knowledge of
his dutieo ; and the manner In whidi the rehearsals have

been conducted; — all these have combined to render the
present one of tlie most arduous, and at the same time one
of tlic least crcililable, seasons for the liaud thnt, utter
sonic years of service, I ever knew. It has h.ippeucd more
than once, that, but lor the proinjilucss shewn by Mr.
C^ccia and Mr Spiigrioletti, the performance must have
stopjwd Huiidt Illy ; :i[i<l jicoplc accu.slomed to the opera
have frequently witnessed our confusion, imputing it, no
doubt, to our want of attention or of ability. To remove
blame from the bond, and to throw it on those wlio really
deaerre to bear it, is the object of dtia letter} Oa f
of which will much oblige

On or TBS lUr-VAIO

Hoj/marittt Jtdjf.

CARL MAMA rvm WEBER Mn ME7BRBBBR.

AvoN'o the numerous literair communications which
Weber fumbhed for various umman periodical works,
there is one that, by the lirdiness of its style, the warmHi
of its pmisa and of its censure, partkulsriy eonunaada at-
tention. It Ian critique on the Opera AtfmaU of M^mr^'
beer, tlm aaihor of "II OnieiaiiL" conlainad in tha ITth
volume of the Lctpzig jlfktOaKieMZntMf, SdNinambar,
IBIS^ and appearing under Weber's signature, b tlw
introductory part, a bitterly ssrcastic pUlippie ia ottiaad
agairuit his coimtrymen, who, with all their " pretended
patriotism," persevere in their absurd adulation of wiiat>
ever is forcifjn, «n<l nnarcniintably neglect " such excellent
original works as thin opera,*' by a native composer. " Mr.
Meyerbeer." Kuys Weber, "has hitherto (1815) ar>jiiireil
fame only as a great piano-forte pluyer, while but little
justice has liccn done to him lus a composer. The great
works by which he has proved his f^eniu-s — the operas
Jcjjhihii. pcrlormcd in MuniL-li, and Ahmrlck, produced at
Stuttgurd, and ot~ten repeated at Prague, and his grand
oratorio, Gixl and Xtiiure, Imve either been passed over
in silence, or mentioned in terms of doubtiiil praise." —
" It is truly melancholy, tlwt a cumj>oser should be so
often at the mercy of individuals, whom either mere chance
or the vanity of seeing themselves in print, or c . <:v. h ,iig;er,
has made the henlda and prodaimcn of the public opi-
nion. How often is their judgment influenced Vy illihan],
seliiali motlTes!" Against (hb indiicet attMk open tie
Jfiif 1 jiaiifcjie Zeihms, flu cdher, Mr. BoeUits. ddhnda
himself in a subjoined notc. Wsbsr ntorna aA leat to
tlic opera Alimclck, snd alter stating with liew much wit
and genuine humour the story (from the Sleeper Awnkmal
of the Arabian Nighlo) has been dramatized, he ttms CQ»>
eludes -The unity and keeping of the whole opera is an
advantage that few compositions like this possess^ In
addition to which, how many proofs of a devoted study
of the art, — what a beautiful combination of iinijina]
nifliiiiii";, ill variiius forii'.s, cauli pre'-crving a character
peculiar lo itscll ! No prolixity in the work, all dramati-
cally true, all fid! of lively imaginution, of lovely, and trc~
^MiMilhunuious airs! The dcyUnvatory part alwsja ooi^

Digitized by Google

THE HAIIMONICON.

JVd, with ilnBdNice of rich and new harmonies. A

jmHrtinn uie vf tht- orcheatra, often so combined as to

praduM thia BiMk ilrikiaf cftdi.— Audi b Um opon.

fton wMeh I coaM mitf seleet mdaMMt to prove all

4hat I have said. V CBMritoee lud aot taiigkt m», that

fuch pasMices, wkw Mictad. ««■• to bt WlMk fbey are

t, aod, thiwfcw, iawpath of flndbaiw eanvk-
• « • * " •

Cua, Hamul

VELLUTI AJio TH8 FEMALE OPERA-SIXORRS.

StSNOK Velluti, it appears, had pledged hinuelf to the
dioristcrs engaged in the u|>er« got up for his benefit, to
fpve (hem the sum of one guinea each in cnuidaratioo of
the exeriiuiis rendered neccsaaiy by the shoH fliM allowed
fan the production of the place. Ctrcuins-tanceK. over which

ir naae pemons, nor tlw Signer himself, had any cun-
tnnli eoopdJcd the poatponement of itie pcdbnnance he-
jaod IIm period orisiiiaUy iDteaded ; bit m Ate time tlie
1 waa pradnead, ami tlia dwrialiia au^or aaidthat
Ibr Oaai, fai a tahnmf a a thfcfilni y
r tha Signor was disappotelad tn racing
t to aatiriy his own \ery nuidaiala aati-
^ of hla BurilB, and tlma rdand in Ua libeni inten-
tions towuda Ida akkrs and abetton, or wlwtheriw thought
that the decision of an Italian Munco would he all-power-
ful, and that no one would call hiiu to account for his
conduct, we know not ; but when the day of reckoning
arrived, he issued his niimdate that the male singers only
ahoiild recci\e the promised reward.

The Velluti (ns he delights lo be called) is by no means
a po|)ular personage viilli purl nt fhc i stablishment,
l)«it to the female portion uf it he liii-, niuilt- )iirn?*elf parti-
riilnr'v iibnoximis, by his tonlempluous and ni)pre»sive
condiul toward-* Iheni personiilly. as well us (irdfessionally-
There being, lo use a familiar ])lirase, no love lost between
the parties, the ladies were by no means inclined ijuietly
to sidmit tu be ca-^lilricil of their ^;oiiie:is; tlipy aeeord-
ingly brought forward their uluim lo the ])roini<e<l eompen-
sation-muncy in the Coi ntv ("oi ut roii Miudlkskx, und,
very wisely dcHcriuining to throw no money away amoni^
the lawyers, entnisted their cause to one of their own body ,
and it must be admitted that the way in which the female
counsellor a cquitted herself fully Justified the choice aaada
by her coUenguta.

llita Romnm formally italfd the case en the pal* af lanatf

and the rwt «f the feniile chorinterii enj^airnl on tfae li|^k in

aiiettion. They were en!:,';\ecd, !.he said. hvMr. BbOstotfag
nriiiEf the iieaiton, but they had concluded their engagements
hefiire the benefit uf Kitrnor Velluti arrived. Abuut a month
before Itii^ time, .Mr. K ililii, the in:v*ti'r uf the ehurm suisjers.
havivi: .vM'riilileil tlioju ill. ;ui 1 fViuale. in the i tci'ii Tuiiin.

re.iil .1 IcMiT til tlifiu froin Mr. \>lluli, prixniniiii; llieni one
jriiiii' 1 f !■ li It ili» V performed llieir parts well. Beinif ejcrited hy
(hik extraordinary reward, they attended relwsmaU during nearly
three weeks, from half-past nine in the OKiming until two, three,
fbur, and five o'clock in the afternoon, and wMnetimes they were
caUad apfa at hatfifaal lis oVIucIc, and engsfeJ aotil ten at
id^fto, Thetdghtamted, and it was acknowledged that they
■nfnnned their parts welL The i^enilemcn dMrnu-aiBgeis bad
aaen paid, but the ladiea had been refuied ; on what paaleMC it
vanld be for tba Cant to baar and daeids.
' Tbe Tdlnli wna ncnr andondjr tealMd ftr, and bad
he had the courage to aKtear in support of Us oiwn cause,
tbe coiitcat between the imtncD and tha daAfaif boat of his
petticoat accusers woubi oertaialy Iwva added nuKli to tbe
Vol. IV.

amnaemcnt of this very amusing oaaa. To tbe
pointmant of all present, Mr. MoobbouMb • ■
peared on b^alf of the defendant

The learned judge, Mr. Dubois, aaked far the latlar amt to

Mr. Rubbi. • '

Mr. Monkhoute naid Mr. Rubbi was nnt tod* . '

Mr. Diibuii. — Hien I shall adjourn the caie, as he i|
ajfenl, and vou mutt prodoco him.
Mr. Monkhoute then produced what he taid was tbe

It promitcd one guinea to the gentlemen, on condition thskthejr
were perfect in their parts, but not one word about the Isdiss,

The ladies one .irid all declared that the letter
not the letter read to them in the ^reen-roOBI.
.Mr. Dubois. — Where ii the real letter?
Mr. Moakliouiie. — 1 have none other. *
Mr. Dubois.— llien fiifoar as with a laaan nlj ba pali tto
gentlemen and refuses the laAia.

Mr. Monkhoute the fact tras,'lba Signer had a deeidcd
objection to the ladies, and netar allowed then to appear in any
place where be wan eoncemed. He had been indltpiMed at home,
and had tent the letter lo ^nestloo (which wat undoubtedly the
letter he had tent), requetUnr that one guinea thuuld be offered
Ai a gratuity tu the gentlemen only.

Mr. Dubois.— Why thit it an extraordinary want of irallantry,
to pay the men and refute Ut pay the reuiale«'.

Mr. Monkhoute. — He did nut know of the Uilies bciag to en-
g^ajed, runtrary to hit with and exprctt direction.
One uf the plaintilft. — Why, lie baa beat time to me.
Mils Ruiaaiina«— He oonM net ha«a dsaa wiriiant ai^ aa «•
had tolei* wbM eould not basa been eaiiMad. He baaldaa

to OI. '
Here there were to many of the fair plaiotifft talking elo-

quently at once, that nothing could be heard, and tite officers ef
the court bad tuine difficulty in procuring tilence.

Mr. Monkhoiise caid tliat the guinea »;i« promised ns a sra-
tiiily onlv ; tli;0 '.iie Si;;iii.r n-Ji!;'n' imI In hi' i mIIl-iI ii;hi!i tn |iiiy
it a* a iJeljt, riu>i-e p.irtiriil.irlv •l^ ^le ulijertnl lu |iiTiin! Ilie
!aJies lo liiiii; in ]necr rt I f-re he perfuniied.

Here there wa* a ttrung manifeitation of feeling on the part
of the female as well st the male portion of the auditory.

Mr. Monkhoute, notwithstanding, contended, that as the
letter refbrrcd only to the auuculine geader, they alone wan
entitled to the gratuity.

Mr. Duboii eould not help laying that the defence waspaKiT.
lie contidered that the tennt of the letter might be taJien ta
mean the churiiitern generallv ; and, lliiiu^h the nianeuline gan«
(Jer wa« parlirnlnrly referred lu, a* that {acn'riliiip to the Opl"
iiiun of fu-iie) ilciiimiinated the naperiur sort ot the rr«'atioH,
the other:', as inferior*, were inehiiied in llie term. The I niiei
hod pcrfornieil the labour ; and why, if he had to Strong au ob-
jection to them, did lt« not prevent ihcm ?
Hu Cburi»tcr». — He beat tiiue to ui.
na Itanad Jtube decided, tbadbaladiaalaffairpocliHaia^
Oa kbiMr, wen enuded to tbe nward.

A friend uf tbe SignutTt here stepped forward, and said, that
it was nut the object of the money, but the mode towliidi H wea
demanded, that indured him tn defend the pieienl preesidlnga.

Mr. Duboii.— Pho! pbol IdonothasiMtetoeajrtbatli
lidar it aa a trumpery diefsnce.

Hw ladiea left «M coart highly dcqghtod irilh tbclri
ceiab bn( deAat 4U net aei veiy caayoBttwalMMldaii of
the fanaeiUa JAiifoh iibo wat ao ill ndfiaed as to aiMiaw

the foUoariiiff latter to tba editor of n I

Sia,

me,

In refertnee to a lapaetof j wieaad t n aa ini Ut aaid agalai
bv the Amale choristers of tbe Diw^s^licotie. wiriA q

penreti in the newipapen of yesterday, I Teel myself "
in defence of my prirate and prufetuunal npulatii
the attenlian of the jwblk totfae peuile apem wbieh
#aai7deddonflf tie

let

* Signer Rubbi, who read thi« lelirr in lianilaiion, xtidreised ttio
Choras ia the word* " Ladiet and Ceailcraea," and be iiaoda per-
IMl|rJ«liMtoba«iag thee lanvHisd the aapetterijtioa.

Digitized by Google

THR HABMOmOOK.

Hf * BcMflb" iHfiac bcoa appmnted r»r the lit of Jum, oa
irtlkn occBirion « new up«ra wn to he produced. «od the t«p«r»
flf MtdM htlng at the inmr lliue in rrhenrMl, I felt that the

Smtlemcn ehnri-itfr, w.iuld bsve ronsiderable tnmble in lenrn-
p to oiuch inijiiic m so sh.irt a prri wi. A* a ttimulu!!, there-
fore, ti) tiirh adilili<inHl cxc-rtlori" as m itc ni-ri*«kr>rv. I raiiMHl it
to be inaiie known to tbo*e fcntlcnisn, thiit I wn'ild pny them,
•a ii irratiiili/, a sovfrreifrn cich, in ntliiition to the salary paid
th'.Mi liv ll.r iiiAiiajier, pri>\idcd thejr were prepitrrd to perform
the nigbt iitcd (the Jlnt) for mj benetH. Tht OMiMfer,

(Ml tbc nigbt tuea (Uie /tmj ror mj Denem. ine OMoafer,
kMPMWVfeMiM ttalMfe»fNMrl»Mll|MMii4rMltiMMM

MnwUeh I had antidpalcd. aadl, raa-
jr, from'ttf pemntw, for there w«a nmple tfane. wMmat
any affigrt, for the reqnmite itudf of the part* ; bat a* the |;en-
lignten ia queation, on the nifht of niT benefit, acquitted them*
•alve* to mjr entire utiifactiun, I adhered ti< nir uri-rinal inren-
tjon. and rewarded them accordingly "n ttir> tn'i'VMinL' niomin^'.

The iMtcr whirli otfcriHl the irrmciity fnifii me, ^rur tin' Ih'si
pri>iif tli.it im fi'tiiali' clii.ri-'t^rfi wit.' thmi^lit of; tlic wordf inct
yitvrt Signori ( nritti, meaning lltenilly, Itentleraen Choristrm.
Tliii letter was prmhiced in court, and offered to be proreti br
the pcraon who wrote it for mt, who waa then pveaeot ; but the
■a^^Mnte dcdimd to tilw lb pmC ll» wf Mtel «»an wIriA
tiM irMi iMiiw af Ihs cnt (Ami- m4 dtSlSdOM

diet ■* were cntitted to a tovereipn e»rh ? Jierame, as he (aid
"tbey had.'done the work but on thi« IhMiI it iva« ihrvrn tii
him that "the arorfc" they did wai to be |«iil tnr by Mr. Kher»,
who by roy artirlet with him was boutvd l<i i^tt e nie for my brne-
fit the use of hit establishtnent, free from all euMOKi. The
im^atrate mif^ht at well have (aid, that I «l|MtehM«fali
the whnlc oribeiitra and Cor/n tie fiiillrt.

1 he l.tLt 15, Imd these "Uilic-," in the lir»r in«(anee, thmipht
proper tii liare aaked this auiii from me aa a faTour, a> the ten-
tletnen Itad dune, inttead uf writing me a moat impndent letter,
demodiaf it aa a riylU, and threatening an immediate prnaeru-
lirnkdml had mm ntaed tlKM, I -woald not have hesitated
laaaiipljwilklMrKvmt. Knowiaf that tbej had do juat
feondation for their etaim, the threat af pnanmllaa a|ipaurcd
i idkM>oaa^b« t ^^'^i^j^^jI'^JIJ'' *** ^'l*'' *^

J*if 10. G. B. VauiOit.

On the lUlowfa^ daj the choriaters replied—

Sill, Haymarkrt, July II.

In reply tii the att.\rk nhidi has been made upon iiiy-
telf and llie other feiiinle t hori^trrs h\ Siirtmr Velluli, in the
Jforfii'n^ Po«< of thh day, we dtriy tli.it the letter which waa
aent by us t« Siftnr Veilati dctcrvea tii« itiaracter of "ca-
treuiely impodoit," which Signar Vcllati haa aacribed ta it. It
merely remoMtntad wHh Mb Id a aultaMe nmnier apes hh in-
taalica in withhold'mr from u* that reronpeflte for twr labours
Id whidi we are lawfully entitled, aa the deeiaioD of the majfis-
tnM hM dctenahicd ; and if we rentured to differ from Sigoor
Tdlali, upon aqoetnanof Ea^liah law and iii>tiec, our pre-
auiii|ition waa certainly not an freat aa his, who ha« prenutued
in hit letter, whii h appeared this day in the Mnruinir I'ntl, to
impute injiislii e to the derision of an Enirlish nja^'istr.iio. Sii;.
Velluli preteiijs tlint »r .i-led tor mir rii'lit in an iniprrtiiient
aaanncr • but. Sir, lie tnuitl bn serv itriinr iiii of Etiijli'.li feeling
■nd EnfVuh justice, if he iiii-^sin he cm nitlihoM fnini olliers
iMr ja«t duea nmm aajr aucli urbitrarv aod orerbeariuK princi-
ple ; and he Mglit ta luM Bade loiae allowance, if ■ apirit of
Indignation had^beati manireilel br a few hamble and neceati-
U>a* females, when their rightful fMlaacea wera withheld from
them by a person in the affluent cireouMtMieei of Sigvor Velluti.
Signor Vellnti alto complains that we offended VSt by aaking
■a a right that wWeh we ought to have solkhed at a favour.
The truth i«. none of the fi male chctriatera are on very sociable
ter!ii» wjili Sis'i'ii' V'elhitt. nti l ,is to askintr a favotir of him, we
loiow that we tllould get nothirij; by our arkiog, if we were; but

oar ri^lairt

certainty enforce ftraai h h a e th rights at
caa aetiat ua ta— «re mean oar |
I remain,
Your reapectful hiiiuble aerrant,
On «f -TM Fuiua '

IWVdMl
tla» aadtbtttiaadhb laai flint at liiB'

lln ftllowi^f letter appcure<I in the papers of 1

To the Editor of the Timr,.
Bilk London, J nhj i\ . ywiB.

Not wishing to five iinport.tnec to » reallv trifling sub-
ject^ or obtrude myself further upon the pubtk:. 1 rimU taiie do
other notice of a letter which appeared in the Morning Poit of
this day. aifacd " One ef the FemaJe Churiittfa." thaa bj gii»
inr a twr v/tHtifenlif ooamranication which f raeefved fion Htm
•■fadiir n qimtlaB. Oat the public may decide whether ar art
wax intnapplied.

I aai, Sir, jrania, Ik.

0. B. Vtemi.

* Foa^jpooad ^aia la list i

n« £<Mr mUhmtd f* Stennr rOua ^ At Ftrndt
C Haa W a w IktWImgt nentov.

^**ThelMllMii 4h» OpcimdMiwSertaTnlliid fnaf
the proaiaa* af la—llMliii lfcr«lklr« tt » B d M >ca on the nigM
oi' MMir benefit. aada*4lwi«lNBiirie af the opera prerioaalfi

Tlicy vill feci sorry to f>¥l yaw t« any f t rmm mi innuvmitme*
hji any other mraiuret than a written .ippltcalion, and thtf
thn^intrwrt that you will cauae this appliciition to be altriuUJ

"Vensome, C. Stockguler, E. rtiimmia^

neardmnre, Per«n, A. t\>tiwaj»

M. OoudHrin, G. Ooodwin, Danton."

J. Wells, Conway,

In all tliia conduct of the Mttsico. there is ccrtuitily sumc-
iMng^ HKirc than abnirdity. Hia morbid antipathy to the
women ; tda mcaiuma of spirit in attempting to withttold
tlie imeaid of Uiefar acrvicc<i ; liia aiTogaaca in expeeliiic
that a body of people, to whom he had acted with oppiw
aion and inault, should solicit aa a boon at his hands th*^
mdoobtad legal rights ; his peevishness, and his van i t y
iH Ifaa* tfobnd enongh, but if not thruat upon paUie
•MeMtait ii%ht bm been lieanl «f ia aiicace, tboqgli Ml
wMwotdlagwt. BntllM'aigiiarliaiiadljiinfoUcii Wn-
itelf, and ftngoMai Um, tint not kof aiaea^ when reeded
by a neifrliboinliig eooBlrf, ho eanw UDOiijgat ua. pasti, m
forlorn adventurer, tbmimg hit chfnw to public noUoa am
a distinguishing calaarity, md a qucationable portion of
professional attraction. Fmm minified feelings of curiosity
and commiseration, he was at first tolerated, afterwards
|i:iti oni/fil ; iinfl in the shoit -iparp of foiirlecn months bus
lu'en enatdcd to uctiitnulate. I'rurn Enf^li^h prufusinn, a
fortune that will en.nlih' him to live en prim e in his uuliva
land for the rc-^t of lii'i days. And li<n> bus he shown
j^ruliltiile ? All Kiiplisli court of justice, lo which hia
nrliitriiry uiid uliju^t cuiiduct liud dri\oli a parcel ot |>rMJr
;iiiri fi|.|ires.sed wonii n hir relief, no sooner ((rcitnninccs a
sound, scntuble, and just judgrnent — hostile, cmniiily, to
the sordid views of this Sifrnor — than he ventures to im-
pug;n our laws, and has the audadty publicly to insinuate
that the jud(re whoiopiopcriy decucd Ike ewe has doM
him an injustice '.

This person h anutlii-r proof of tlic prodl(ri UMnlilV
~ ~ ' of aone empoM

of JoiuiBuii, of the hearllesa
opem liBgiii, end of tlie "
im'lt w ori o f « Jftujm.
Hm rflwidMi of the indiTidiiala aelaotad for the

of the Velluti's oppression, affords a striking

•N»lalqr8i|narValloU.~Ooi)r laadatathB

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THE HARMONICON.

1«6

|||l«wn. According to the syatcn of ■crewing down Uie
■ilariea of the minor perfomwn, in otder to ^rive enormous
■UBW to Uie lillliuyril. 4w choristers had been paid during
Am flnt imt of 4lw MHon five ahilHngs and mnepence
per alflltt. «r atcvai ifaUUnga and arrcnpMiet
«it«ir«yek HMylnd to boy iboM, giom. and
adapMd to the cMtiiae of liM Tuteii* dMiMiera ;

jrday,

t; oaMMMOfMiiMMWinMtolw

pcflbming Urn chHnelan of Onitan vkglM^ Hm
of Spanish peaMuH, Ac. ; and pcttkonis, of

dioary brevity, that they might have bacn miataJun for
IdltR, were sent down to them from the wardrobe. In the

course of the season Sif^nor Vclluli iIlt(^^ceded for the gen-
tlemm*, and o(]tain«(i un advance of lh*ir salary to ripht
8liillin<rH (MT iil^t. The ladies struck — Matliimc V:isU\
inteTce<lod tor them, and obtained the enormous advance
of one iihilling' and twopence
tber leven BhiiUngs per night.

3Mk!m of fSLxait'

Haydn'k MAfl'tB!), trllK an Accoinpaabnenl Jor the Orfan,
arran^fd frnm thf FhU Score, and retpettfuHi/ itueribed,
hy ■prrmitaion. tt Hii Serene Hifhnee*. Tub I^rintk Ks-
TKRHAzr, Ay ViNoaNT NoVBUO, Ovg o n iM to tk« FoHu-
guese Rmbauy in London. (Odomyt Mj Ifigmm
Utreit, CaetndUk Square.)

Tnr prc--cnt ptiblication wna not only commenced, but,
Wf liol'tTc, nearly ciimpkHed hefore ours bppnn : ai rnrdinfj.
thcTi.-inre, til ihe niU' th[\t wf Inkl down at M.'tliiijj out. wr
f.'inii!d liiive sIoimI <-\Lrisp<l Ijiitli to the proprietor and the
public, had wp not noticed it in our revie\T. But a work oi
surh importance, on which »o much talent and time have
been bctnwed, and so larf^e n capital haN U i-n risked,
is entitled to any e\cr]i1i<in that c:m ho miidi in it-,
fovour: indeed we •>hould have fell that we h«d acted
without a licconiinpr real for the real interct^ts ofthe art, and
-n ith an indifference, not very excusable, towards tbooe who
hiiwc been engaged in so praiseworthy an nndcrtakiiig,
had we not exereiMd what little power we poMcmed. iti
asuating to draw attention to such a publication, and to
make it widely known. At the mow tiine we must add,
liwt it ii not our intention to cntar ftr irto the examination
flfcompoiftiona that arc of lo naiiif >Mm' Maading, aad go
tomdiaataitait; we caanot «b nuah mm tiaii dRra
MMnl npiaioB «f their Bcrila.

X. Bowb a t t h arw lM Cflinik da mtndtlial> othcrwiw
v. Bw l a i a lb IcMmmr BagAt, mkm Hm folkming
nm m* m thum MMnan »

«• Haydn, who knmi f mctSffi fl w dmaw «t $mitmL
dnifch nraaic, the pnftos tuuifimcy ot omanrnt which
node rn Italians introduce into ecde aia atical harmony, and
ttie monotononit, inexpressive manner of the Ocrmatis in
this class of composition, saw, that in bcin^ alone in-
fluenced hy hin own notions of propriety, he should create
a style entirely new : he borrowed therefore little or nothing
from the theatre ; he retained, for the salie of tolid har-

• And the genttenen only — aoMlwr imtaaoe of tbo Vellnti'i
aaMlMlnil aatifM^ to lha tanlia.

mony, part of the Iof\y but gloomy character of thai
dent school ; he supported, hy the richncas of his i
niments, aira lolenin, tender, full of dignity, but n«f
thelcM brilUwIs ^ ^ oeoammaUy decorated with graoto
his noble nnancr flf amgiag tha prakMa of Go£ aai
thanking him tot hia batoSta.

" HehadBopteanorin ljaataK<
the Milan oonpoaer*."

it ia tetfhb vohfflai but wuinng-,— tMa I

illtr, apoAsof Haydn's prodtlolioaB
•ad aaadonna, in few words, oncfa men-aa
IiCD^ OaMara, Aatorga, Or«nn. Pergolaaf,
Haaae, and • boat of othm !— Criticism liJce this we
ahoiild never iMve BoHecd, bat that the IxUers <m Hmfrki
hare, in one shape or i iIut. decn much re;>(i. and a
better opportunity of pointjntr out sonic of the many in-
con'^iderutc cxprcwions of their iiuthor will, in all pro-
Uulnlity, never a^iin occur. The facrt i-i, that llaydn did
not iiiteinpt any fresh arranfjenient, or exjienii hii lalxjur
in search of a new st\ie. in coinposinj^^ hi.s Masses: in the
division of his movements, and in their times, he was
much gij^ erned hy the »t>undance of precedents which l>Ottl
the Italian ami (icnnan schools atlorcicd ; furinwliaftao
nearly concerned religion, he was greatly influenced by
uithurity : his genius is distinf^isliable in these woika,
chiefly in the originality of his melody, tiie science, vigoar,
and novelty of his accompaniaiMil, and ^ extraordioary
power he exhibits of so treating fevan wdUkncnrn sufegaaM^
as to impart to tiiem all the character of newneas. ~
the general style resembles that of mony of his
•ors;" he is solemn where they are devout, and
where he finds then iadnlgiiiK ia cfaeerfal melddy:
wfab indeed that be bad not ao tllkln foUowed tlieir e>-
awple in this Uet reipect, ftr we m— 1< help thinkbig ilM
some of hismoTCBaala BVViillMlBltfattaBMaalftVV
for the Maaa: Im -Mf •Om part «f-4lM Mffka^ nidk
gaiety of nfnw might be telaratod, bat^rtwaaa bairlte
Kyrie Elrim t nag to a miauct tune,
judgment, — reaolting, it may be said, fran • cold, '
tant education — lead us to consider such a style aa a I
ul' religious propriety, and a violation of good senae. Wo
are sanctioned in this opinion by one of the most leamad,
accomplished, and pious catholics of the apef, who saya,
■■ lyot US surrender the G/orii} and .-lynin JAi to the canto
tijrurutoj ; but let tlie canto fernio^ retain the Kyrie, Uie
Crvdii, and the Sttm.lut.'' And yel this writer is vety
tolerant ia relation to (hiircli musir. as lh shewn by his
yielding up the Ai/nn^ ih i k> the whimH of u composer,—
words ait dcfnrecatory aad terxwa aa any part of the

TliiR publication indudaa Mw aitteen Masaee of Hayda.
which, even in an adaftod ftrai, fill between :
eight baadnd ivMhi anwly-engiavad plitait

* " lls^dn, qui coDDul He l>onne beare U •^ulirmir de I'nn-
cicnnc musique aacrtc, tc luic prolan* qui les lialicnt porlrni de
aea Joan dan* le nncltuiie, et le genre mmtalone el tans rrprti-
llsn di la mm^^ atUmandt, vil qu'ea hisaal ee qu'il Kolait ttre
onvenable, iIm cr^rrait ijn« msnierv ^ntierrroenl noovelle : it prit
done fnru i>u rirD dr l:i nuikKjucr dii llifitrL-; il toiiiwrva, pur la
lolidii^ de rharmooie, uno pants di; Tair grand ioM et fomor* il*
ramimne Anfe ; il sootiat, par tool te lax* de so neieli ei tt^dl e
chsnts lolcinDeli. ttodrasb plciai de dwaili •( eepanAM brillBBtt
dea Kilces et des iaa t a y lBMt aitmui

rraade naoitie lit I Wwlai lis l«liae|M ia ITItTj ff^ '
de M-ii bienlsiti.

" II D'svsit es de pr^curienr dam c
eomposilcar de Milan." — Lean XH-

I nailn»iHii,ln ^iHnbHtoV. fFMoHai

8 AS

THE HARMONICON.

166

The fii^t (•< in B Bat : after a short atlu^io of twelve bars,
Hm words arc 1 1 jiimlfd an allei^ moderato, three-four
time. This is the noTement to which we h«ee jnat alluded,
Ibe firiit sixteen ban whereof ibmi as corupfatasmiBaet as
«VBr MUiMU or ajpiphoiiy daiined for iti own. A short
Jmc hmin Into 111* danetag nMUwe. Mapcnding fat

toodnead at Chriilt Mteimii; IkA mMBg cn Mtk th*
levity of die principal snl^ect. The Gbria m eneaMr D$ti
la fiul of anwnart<m and joy, iu true efaarader. Hera
ample latitude may be allowed, and has frenerally been
taken; by Perpolefii, for instunce. who«<> ll^ht and eleeant
roovrmcnt is niiivorsally known and admired 'I'lic Quo-
mam tu jo/wr Sunrtw; oisds with u ^kiHul and I'dcctive
fligiie ot" two sulijcits_ The Crcdti njions in it hfild, ma-
jestic ninnnpr, iiidiculi\e of contidence : the Et inramnius
est, an adupio in f. flat, is a lovely composition, consistinjf
mainly of u canon in tlie umaon. The Benedictut, a mode-
rato, in the same liey, is not haa beaulHul. Tlie Agnus
Dei, an adajgrio, in a fiat minor, is an elaborate and
masterly effort ; but the terminating Dona noAMfaeem is
too light : the words are injudiciaualy separated, and ae in>
judiciously repeated. As a whole, bowsvcr, this is a
chantinf Masai and If fanenl aypvAbaiian be a teel of
.anperior anil, H nmat be lanlced aa one of dw best of
.Hwdn'swleeiaiitical production!^.

The aecmid, in c, opens with great dignity, Iwt, iilce the
former, passes imme<lialely into an air more cHlculuted for
the stage than the church. The G/oria tuaiiitiiins its pro-
per fliur.iL'ttT, by rejoicinji, hut imi in n vi-ry N'.riVina: muM--
ment. Qiu toiin commences witli a very melodimii hnse
solo, adopio . the relief urtordcd by the chorus c<iiilributes
most powerfully to the effect, 'llie Omedictus, in c minor,
six-eight time, is not rcniurkuble. Ths /JiMa m6if pBem,
clamorou.s, and ill-judged altogether.

The third, in d minor, begins at on^e with an alkipo
moderato, and by the imperhMisncas of iU style, seems not
to fandovt, but to demand, msfcy. The Qw tollM is oom-
pmed in a ym similar manner to that above mentioned,
with a result abnost ecpially good. Die tint ui o » wue nt of
the Cretk cow mi ises three short canons, which to many
people will not be the less pleasing for being a Panr-ien. Et
■ IIMWIUltot tM Is a divine movement, the melody first sung
by the soprano, then repeated in ehonis. The Sundus is a
lovely piece of harmony, and the tbllowing P/'Tu' tiint rcpli
bursts out, in the manner ofUruun, rnosl splendidly. The
Aipiw Dei, adagio, extremely fidi of liiste and feeling.
The Dona tuJiis very iiiirenious in its fngid coiitrivunces.

The fourth is in n liiit ; it commences :idagio, and pro-
ceeds, (I I'lirdiiuiire, allcpiti. The Gloria ha.s some fine,
and rather singular, mnduljitions. In the Cntlo, at the
words pasxus el sepuUua the contrast of the loud and
•oft. Math the sharp seventh and flat .sixtli, is finely imagined,
and wonderfully impreaaive. The aeoom^intcnt of semi-
quavers in triplets to the SnicflU, Is aomswhst trifling, and
inconsistent with the vast digntty of sneh words. The
.iBtneAc(ii(bUiislfsaa,biBlbt. we cannot bat consider
"^jy?.^**!— t eonpoeition ever produced by its
anflior nr (no aaaecd aec^ee ; though, if perfonned ns fast
aslfae allcgKMopMAxadto it would soeni tii dirci'.. iriiirh
oTltseflto will be lost The Aijnus Dn tliai follows is
.bardK Ics*; l.c'rnitiful.
• The tilth, m c, begins in a solemn Itirjro. and the Christe
Eleiion follows, in a minor, nUeirTrtto : l,nt the composer,
as if repenting of this di^-cretiun r4n<l si>brieiy. snnu repents
the \N<iriN in a brilliant fiigue, and under direciion of the
word Ftvoctf, the four porU set off, one aaer th« other of

course, with a rnpidit)' that could scarcely be exceeded, were
the mercy prayed for offered as a prize to the swiflest of
the party. We pass on to tlie Agnus Dei, an imitation of %
movement by Celdara, and in better keeping than mail
otiier parts of this Maas» wbieh, we honestly ooniiaee, a^
pears to ustobsintnMy bsHsr ndiplsd fiir saodar Ikan
aaoad puipoeee.

The sfan, In n iat, opens pocoadagio, and so can^nnto
tolhasndaf tiM J^fnir; the Giwia, consequently, is tahW;
dneed wMi ineressed elli»ct, arising from proper cootrast
The Gralias agivtvs tibi is a charming composition, in a
flat ; but the Bem-diclus, an allegro molto, is destitute of
that tranqiullity which we fj-i'iiendly find in Ilii- movonenl,
and announces, in too hurried n inuiiner, a fact that should
be commuiiicjited with placid dipnity.

The seventh, in o, " from a M.S. score iu Haydn's own
hand-wrilinir, in the possession of the Rc\. C J. I..nlrobe,"
cotutnenccs with a quiet allegretto, in the imusual time of
six crotchets, and continues its evcif oourae to the end of
the Ayrr>. The Snnchig, an adagio, is accompanied by an
inces.sunt flow of semiijuavers in triplets, precisely as in
the fourth of these Msssca, and, in our mind, nothing mofo
unfit for the pmpaaa could have baas, devi s ed. Iba
Bewdichit. a quHftet In «, appears hen in a veiy d»>
lightful form; sad tiw XlHiafqiaata.aB aidjact of the in*
traduction.

ttb >> mm tmi t i im swr wsst.]

A GaAMo Sonata /m- Ue Piano-Fostb mmd Violoncsua.
Cosi j isss d mmd dediemUd to Her I. H. the Grand DiKheis of
Haeda, if J. V. HoMnai. Op. VM. (Bwif and Ca«
MfeaMwt.)

We say at once, ■.r.ui \sithout any reservation, that this is
not oniy one of the most masterly and beautifiil composi-
tions by Hummel tliat ever fell under our notice, but one
of the best and moot effective worlcs of the land, by aaf
aullior, that we ever beard. The design b elegant and
original ; there is a definable and ndooMHis subject run-
ning through every part of it ; the modulations, unexpeoted
and scientific as they are, seem natural, and as if aooon-
plished without any labour or research ; the harmony is the
hiindin;iiil of the ;iir, nnd the various passages which dilate
the sniijKi, !Lmi throw it into different forms, never lose
thrir ainilotcy un<l omneolion, wbite thqr aboiud itt novd

and ha|>py couihinalions.

This sonata, or duel, is in three movements : the first,
an allegro, moderated by a grazing), in a, six-tbur time, is
rather iiicliniiig to the pastoral style, full of gritce, and
channingly carried through nine pages. The sccoiul, a
ronianza, poco adagio, in c, is au air rather in Hie
Scottish manner, in amplifying which the composer has
striven, and successfiilly, to sbew his sitill as a harmonist.
The union of the two instnunanto hen is productive of a
delightfid elfiict, and die dnc« psgaa devoted to diw por-
tion wilt, we an nersuaded, generally ba repeated by the
mutual desire of siU parties.

The finale, a rondo, allegro vivace, in * minor, has fiw
its subject an air not quite so new to our ears as that of the
first movement, though we would not imply that llicre is
anything cuminon in it : in the Ircalujcnt ot liiis, we cer-
taiidy find noihinir of un ordinary kind— all is the evident
work of a great nuisician. and a man of delicate taste.
Taken altogetlier, we do not know whcllier to prefer this
or tlie first part : they are widely diffcrcut in their cha-
racters, eacii posses-ting its peculiar beauties, and Ijpth
must unavoidably find warm admiran.amoi^ those wIh>

Digitized by Google

THE HARMONICON.

hvte T*ally. and in the ■'trift «ense of the wnnl. cultivated
Hieir tuste for imisir.

In point nf execution, tliis, undoubtedly, must be ranked
»s u difficult composition for the piano-forte ; no ordinary
player will draw much from it; for thotigh it haa no pa&-
aag«i of extraordinary rapidity, or requirinff gmtoaiii|Maa
and stren^h of hand, yet that iljle of pcrfbrmanee which ia
fte result of experience md n extensive knowled(|>e of
» ebioliitely neeeaaaiy l» ghfeanch cflbet to the

MMla n- it pemiqitorny demindi. The tMeneello part
daee not lequira a brilliant pcHonMr; it to in tratliewjr;
but taste and judgment are quila MoaMiy bi anch aa

would <^o jnrftw rit^fp ^ < imiiiiHiWftn or t» flia aiwtm
panying player.

DUETS, PIANO-PORTE.
I. MamtBn»*aOvMT1IM (• Emma dl Rctburgot mrrmngtd

.(J. F. Laloar. 50;. Ntm Bwmd Strtti.)
ft OvKRTi:t(K In the U'ajrr ; fts prrformed at the Tk*atre
Xoj/al, Drnry Lane ; composed by T. CwOKB, arraitgtdu$

■m Dmt kjf a. BbACK. (Ctewenti aad Oii« M, ChafMe.S
9, OraKTinn to Faiutaa, 8n>n ; mnmmgti a« • Duet
' Ay J. F. Btmaewa. (tloBUIaf and VAIaadaek «\ Me

Sqimre.)

4. Otrhti'rb to Die Gei»ter Intel (The Itland of Hpiritt),
CompBiril Ay Zummhtrro, arranged at a Duft, Ay JahBI
ETBHRiiiCTON. (Mooro and Co., 11, Hoihorn Bmn.}
T1118 overture is a moat flimsy production, lUstitata af
\ of wcollections. and Hwaa not Ifae
, and iriUcHtrinly not add In Mia finoe
id eharadnn anara of B Omialo has
'oiitained tbt Ha author! We flhioard r^olce tn aaa more
frequently masters of Mr. Moscbelea' "wiiwnw on the
piano-forte employed in oondensinfr, for that tnstmment,

the works of our proat originals, (Clernrnti iuiil Hiininiei
upon Mozart and Beethoven, we think us happy u co-
alescence us (\ikr up<m LiltMon f ) luui trust it may even-
tually rescue thciu from the unhallowed hands of the host
of arranijt^s now continually at work upon everv di frree
of author indiscriminulely '. In the present instance, hoH -
ever, he has too humbly LMn;j|r)ycd his valuable lime and
talents : the CoUowing combination we ptonounce to be a

e't overture makes np in ammatim (at ndfdl
1 in the musical, as of chariiy 'in tlia aeni
' it coventh a maltitndB «f ains t") ftr what it
inaU^. This gvMt virtnOi honcm, in nu>

Mr. Cooke'i
may be !<Md
world, that

lacks in originali^. TTiis great ' ^

sical compoailion. to not dej^rndoat Wn laige qiLmti^ <d
orvm and tnunpct, (and w« raeallael hi hearing this over-
tufe to have Oionght Ifr. Coolte a 1 ittle ultra in that
nq>ect,) wlndi Aoiud rather be considered its auxiliaries
than it* constituents.

Mr. Black's task, with a composition of such simple
COnstniction, was an easy one, and he has performed it
mofi^nsively : he will <!o well, however, to notice, that in
a pasfiugc of sYnr(i])[ition. as at pn^e 9, one hand only
should be employed upon the syncopated notes, the other
acting a» ita gokk^ hy atilkhiflr on fha wiawro nana of.

the bar.

With all our admiration, whidi to not a little, of Spobr,
both as an author and performer, we are impelled to ny
of this overture, that it is a most tiresome, dreary, unin-
teresting maaa cf ciudi^ and chromaticism, deslilBia «f
melody, and nM not cno ftatnn of originality: eianflia
chief motivo

— •

is the same as that of a fiuulc of Beethoven: —

Hie opera itself is on the other hand a masterly compori-

tioii ; uboiniilinf,^ in fine airs, both of the pathetic and
hcroiu thariKter. OfMr. Burrows it is due to say, that he

hu>i m::<\t: the best nt' Imil job.

Conccniing Mr. Zununsteeg's overture little need be
remarked : the piece to which it is prcOxed. we presuOM
to be a melodrame, performed at some German Cohaurg
or Surrey sort of theatre, and is about the .standard of the
overtures introduced at those theatres of ours. Whctfier
it be to the author or the arranger that we are iadcbled Ibr
the firequent succesiiona of patftet ttUia (hat occur, we
cannot say: see page two^ Mna* tm and three— page

The laaat of change that could make it endunilile, would
'he to ffismissthe two first sharps in the bar ; thus ; —

■

Tkefavouritt Ataa lalfAnn'* Opef« Msma in Comiitu,
arranged fir PiAxo-FoaTB, iw<* mn aetmp t m i m t mtjhr

the Flutr, «jr F. T. Latovk. PUmttU le Bh Mt^utg.

Hook \nt. f'Laloar. SO, Nr«- Hond-tlreH.)

Mr. Latoi r ha.s chosen, for his first number, four pieces
from Maycr"s opera tliat are most atlmircH, and best
adapted for the pianu-forte: they ore " Amkhf, cintiele
la chioma di rose," the opening chorus of the second act ; —
" Jo li Luciai piangendo,'" a beautiful air, that oujM to be
8ung by Kyeo, in the finil act, but which is changed at lha
King's Theatre for a piece from another opera; — ** Noit
jMj/pilar," the duet in tlie second act, for Giatone and
Creiua; and " Loteefitmma," the air ,lhat it auiv by Sgea,
instead of that which appertaloa to the aeeae. It to'
perhaps naneeanary to say, tbatiA thtoa am amngad
a way that AcwB great experienee of the inatnunent, ond
a practical Icnowlaqp of what is likely to promote a wide
circulation. Tliey are within the reach of most performers,
«lii (li. r <in the (liono-fortc or flute, and arc published at a
rca.sonablc price, the prevailing practice being considered.

Digitized by Google

168

L A Thbmb by MosART. «ft<A «•

TWN* fof the PiAJlo-KoRTM, Ay I). ScKLI

(GnmMraod Co. a>l, liegtnt Utreet.)

voce poeo fa, " amil "BMO, lUtate il cielo." /rtw

'Brainri's Barbiwe « SiriKlK w i* m » rf >^ <*• Puxo-
* 'VosTB, »y CAMnMFi.«ni.. (CatfawM Mmm Sf.)

We do not recoffuiae llic ihoine on which M. Schlcsiiiger
hu descanted, but il is very simple, aud noi less brief.
Ite variatkma, if-not aUnaped by any disunci tuark of no-
witf, are at least ingeniouB, and in places masterty. The
MsaBay be said uf the Introduction, which, DererthcleHH,
liH Httki too iifO»a<ifi — Iffir wht"'^"'! "* aaighl add—
fc>lhii rilMffll 1 toiriiMa, bwMW.lfr. 8. does not ad-
li III! dn^ mtmSm, mtti «lttii«)r. that the
gT«at«r part of hia pnsent p»ce is much mbct than laoat
of his other publicationa. The price ia the fPMlMt 4iffi-
oulty about it, and whieh wa awvcct will opcnite m m «on-
ndmble drawback to tewle. Wkit Mipdiw atiU pre-
f«ils on this subject !

The two airs from Rosfsiui's best opera hti^a are cle-
verly arruiiiced by M. C'umilK- Pleypl, "ho certainly is verj-
skiliul in ilii'- sort of pursnil. His lutroductiou is in <J,
and we were glad to find that he had not lranH|>u<«ed (. /lo
90Cf for the sake of facility. It n :rn:iiiw in B. Eceo ridente
aatarna to c, which, with ita second moveinent, nakea a
goodflnhtollM

TBE BARMOMIOON,

dtp. 4.

TUrd Aim wWA VAWATtowa for the VroLOf , «i»f< ilceom-
fmulmnt «f OncnaaTaA, or Pianh-Fortb, by C. Ds
Bnien FM»m 4a to AtamArc <UtLmie Frame ; a neie

(Boeaay and Co., JMfat Mtntt.)

This is the air .
OeBsriotaithe
tMtav the lile

Ib ao admirable a manner by M.
tfe eooecit, and in other places,

After an introduction, a reci-

instnuoents are beginning to maice re-

nrisaU~on voices, whidi hufc fiir aane tinie past faivaded
their territory with grart bflM iUM. M mt ften follows the
air, in K, a little h la Rossini, and aot T«ry striking; but
Uif vuriaiious, four in number, eouBlitUte the prin cipal p art
of tlie w ork, aiui these, we hardly need say, are contrived
pur^io^plv to display the author's versatile and extraordi-
nar\ jxjwcr' , 'I'hc tii sl consists of double stops, wfaidl M.
BeriDt cxeciitps w'lb ;i firTniu-ss and certainty that we never
heard siiriir\'.'!t-il. Tlic lliinl i'< ruiiliJiilc, to shew the e\
prewnon of ilie player. The fourth, iucliidins' a cinia,
bmadenp entirely of lupefrpos, embracing the whole
•ooipaas of the instrument, and these are otdy tbr very
fnt-iT^f players to attempt. The author, however, hus
aoAcned a UtUe the rigour of some piu^tagcs, by adding
abava them others. A good piano-forte accompaniment,
wn aiiBpla in ili fixnit ia placed under the violin part,
mdilaMcritdiopiiited in a aeparatestate. This will
bo aa intaNathig poblicatioa to llio wiiaitnin of the in-
aad ia very detervng of tiMbr altailloD.

Thb Notation op Mumc Simplifibd, 'or the ^

tf a Syttrtn in tohich the ckaraclrrt rntployrd in the nflfti-
/ion of Language ny^ appUeii to the ti'^lnliun of Sfusi'c.
Bf AuUtAMBBA M ACOONA1.D. ISltS. (GlasgOH: M 'Pbuii :

Vmt • astMn •f UMltil aatolto, pnfoaUa in naiqr

LlwMod.lhmMabo

; tot it ia iMtkaBoafaimliial topfeiaoean

great change in a method so long adopted, ao deeply raotM
hy Uie uiwgc of centuries, is next to impu^isible, uuJeaa 4he
uIlcrulKiiLS be broag^ht about in u NCry g^rudual, an almost
iuiperceptible, maiuier; for wliicli purpos*; a. period of not
much lew) duration tlian that w hich has e^tubli.shed our
existing mode would l>c required : for — lo say nothing of
ttic immense diflicully of luich an attempt, and thereibia
the solid objection to it — prejudice, which, aa we daily see,
so promptly opposes the most obvious and eaaUy-cBccled
improvements, would rcnist with all its force any geuetal
pluu of umeliomlion, oiui at oucc render it abortive.
Iff. Macdoaald'a antcm ia axlaoBafar aiooftle and i^f^
DiH, hot U foca to ttw anailulatiaB «r flwt at pnaemtte
Tlie Somda of Qm acal^ fton w, the Ibailh addad
Una Mow Hut baaa, to o, the italh added apaea abow l3t»
treble, he designates by means of letters from the old
English, the Roman, and Italic alphabets ; the Times bj
fractions ; the Note* by numerals, ! rrprrsenting the semi-
breve, 2 the minim, Ac. ; the Sharj) I v an acute ueceot ;
the Fist by a grave one; the .Naturjil by a pcr]iciidiculiir
line. The Comma mipplies the plnce ot a Miii|»;le Bar, and
the Dash tliul oi the double Unr. The Dot is expre-Sfied
by the apostrophe, uikd lite Kest by liie uurocral of ttw
note intended to be represented. The first line of our na-
air, " God save the King," therefore, ia thua cx^
jn yiig]

«i at M gf ^ ^
Bt it TC, 3v Be R

God BTe great George ear tPitft
C« C4 D<. B4- OS IM,

*l* c* jtA Of rt K.

Tht ■utfaor's motire txr auggcatiBg thia

be better explained than in his own words.-—

Happeniiic: Intcly to look into a \-oluine containing aany of
the bed and mmt populiir tonga of the day, I could nut help r»
f^rsUing- that it furoisiiad us with no better a key to their ra»
■pective airs, than a referenae lo tiw aire ef etiwr soaga. Imp
fleeted npon the morttfcatiM that ena. poiaeHed of a taite and
a talent for auaief aiaaiiiiniii ea meeting with boom of Aa
brightest idou, fcinw up in the most eaptivatiar laaguqi^

Set dntitttte of their moat capticatinf gatb— the malic. I re^
eetad upon the difficultv of prscnrfaig nie ronsie of the sefesal
wmp, as well as upon the expense, eomkieriatr that tli* asuaie
of a ND^Ie song seldom costs less than a shiliag, nA ttet it
soDietimet corts eonsidrrablr more. Such rellectiaai
to attempt the invention of a Sy^tt:!:! uf MuticaL]
which tbeie inoonrenienoea might be obviated.

Tha idwma* «f iMa are simplicity, cmnpraaiiaab vl
diat it icqidMa no «dMr tfiaii the tjpca in oommon vaa.
But we (bar that befface ilfcta-Mo gcncfal practiea, thii^

our present notice of the w ork, will only he read by soma
Midi nicuibers of a fiilure lloxburghe Club, as may bo
able to decyphcr what to them will be tlie black-lctlcr of
the nineteenth century. As. however, Mr. Mucdouald's
s'.s(eiii, illustrnted liv twenty jiopular pieces ot music, is
comprised in a »rai*/< '^ff/ pocket panijihlct. nt the rcasou-
able price of cightccii-pcnce, we rerommenfi nil u ho fed
any curiosity ia musicai matters, to put Uiemseives ia]
iddaverarliiaer *^

A Woaii oa Two oir nn Fbum. ig W^K. <

fl^diyJ.ursh, SMitt aod C*.: Aoadaa, Goeha uA

Co., PrinctA atreet.J
We view with great pleasure the decided advance of aso-
i» diia MOMiteyi of biatorieal and -oitod
dwa«..br maaori

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TBD RASMQRIGOIlff.

St muM, uiid very Mom too, improrc the «tat« -of imiMC
ainon^t us, in all it.s hruich«a, and place it OMt of the
TetKh of the prejii(iice<l aiut the fivuriclous, who alwaj-s
«rr, and over wi'l be. (ij»|io-c-i| to t'loe irujuin,-. tn iniprove-
menl, and liberal "^etitinunt. It is true thut now uud tlieti
a bold and ijfnoraiit pretender will slurt up anJ exhiljit Jiis
name in a tit)e-pag«, but nuch persnu» are uow pretty »ure
(OitKfOnn, aud u mixture of evil ii an unavoidable coo-
ikion ia Iha tarma by which we obtain good io Uiia aobla-
■ary ipbcre, ba It of wtiat sort it may.

In. JaDMa iaqaUa i%)itiii baUeviag^ aa hatella uaia
MrpKftec^llwl ataM^dglaqr orOvflata wiB ta "iii.
taaaftig and accqitaUe to tte kmta of ttw iaatnnacnt.
Vbe eoinptlation," he adda, " tn aa ftr aa ttia Hlorical, U
ddeSy fiom Btirncy, Mawkina, Malcolm, «ai item the
oaUbnUed dialogue ofPlutarch 00 miuric."

The iuithcw commences M-ith the flutes of the uncienl* :
be is of opinion, with our hiwloriaii!', thut this instrument
is of EijNjitiau origin. If mankind first spraiij^ up on ihc
banks of the Nile, he i^; perhaps ng-hf, for \\c h.i\c little
doubt but that the fir<it flutes w ere mude by the first men
that found reeds. But whea Mr. James tcllii us (po^e
1&, note) that the " cithara is only another name fur
Sute," we are aa much Mir|iriaed aa if he had said, that
Kifimpa is Ureeli for sleam-angiBe. Una iiiatorical part
of the volume is out of proportion to the rest : thouj^ en-
tertaining-, it is much too loaf;.

Hie aeeood divinoii of tha work is " 00 the EngUrf*
and Oaniaii ttIM," and at the very wimm aa wm ent of
lUi, flie. author tdwa uarafitable paiaa to dwive the
iuta A bee ftom ** an old jBuliBh mad, adiidi aignifies
thoboak «r»biid or fimL" Wbcia aaeh aid £19^
wmriL la to ba feond we kaow not, but we do know, and
never before daw the fact dl iyoted, that Jlulr it hfc is a
Prrnch term for the flute that is blown at tlie upper end,
like a clarinet, and that l>rr signifies in FVeneh the lieuk. of
a bird. His derivatiuii of flute from ^uta, a Ijunjixey, (or
small Sicilian eel which has seven holes on euch hide) in
new tn us, and doeH not tseem au improhalile etyniolo|fy.
Mr James's uccouiit of the proaress ol this in.'«tniment,
from Henry Vlllth to the end of the last century, is well
■elected ond interesting^.

Ihe author next treats of the capabilities of the flute,
and ia aindi'hidhicd to defend a style that «• hava always
dnmproTed, namely, the Araoiini, which «a aanat ovar ooii>
aider aa utterly nyMfpaaiil to tha traa chanotn- of tha la>>.
atrument. Ha eafi^ *' I will appeal ta thoaa who ara heat
acqiminted nWi tha iMtaBaal«— whatbar they have not
MtthegreatcatdelMitfaiKMBS^eActlo the motit difficult
oompositions." No doubt they have, and the tiutie
pleasure is felt by all who overcome any jfteat difficulty:
M.ndame Saqui, w ho performed such wonders on tlie rope,
ccriLiiiil) enjoyed her triumph. But is this 11 rjtiuiial cauFve
ot dili^fht t/i others? We think not, and are |>er8uadetl
that we have ninety-and-ninc out of every hiindre^l on our
side. Let the practitioner in his chamber vanqui.sh by his
latMiur as many apparent iniposaibilities as he can find ;
auch practice will give him a master}' over the instnunent,
ad enaUa hhatopaifcrm what is better adapted for it in a
mote perfect manner: but let liim coni<ider such exerdses
aa (bt means, not the end ; be those concealed* — art e*t
cairn orfsm— while his aaain olfiaet AouU -ha, te touih the
ftaiklg^ and gratiiy real niiacal taatai Tfaaa ha wifl be
aBo wod p i eai ^ of laKtode, ffar arpeprgioe are dIfficaK enoogh
tO'Oiaeate wh! on the flute, and, partnkinfr of the nature of
kamxmy, win always please ilie In st judjres ; while pre-
poatcrous skips, and passages of scniiioues, pre$titnmo.

will eeUom fail to disgust the (nie critic and lover of
music.

Much u.seful practical uiloriuatuxi is conveyed in this
portiou of til!- !)ook ; and in the (bllowinfr part, on articu-
lation, diHililr-tontpiiiuj is (juite exploded, while the siurttd
staccato, for whicli M. Drouct is it appears so celebrated,
is hij^ly praised, and comparad to " a vein of gold, wUeh
sprcaidii over, and iinproTfla oiwy poaaihie variety of ex-
preseiao of which the flute b ei^iable." In ticattng «f
thehrit mitltt, or hoja, ibr the flate, Mr. Jamas piaiEhi
Aflat,aaoBaof thaMoet pathetic MdeiiiBliret ••It.paa-
takeamoraof Uwa^giee and phdntiva sofiueaa whkh tha
paete ara ee4hi4 af aealMBy la iMi lartiamehl. than .any
other key.^— lha aaada wUeh aamtaen praAr is n. ha-
cause the eaaicst, " though the driest on the inatniment,"
Keys with sharps, we are told, are tlie most echilaraliog
ai.d lr.!l:aii', anil the three and li-c sharps possesH every
udvaulaf;e in these points. Tlie one and two sharps are
more full of tire ajid spirit than any other keys ; the former
is M. Drouet's ('av<mnle mode, 'file relative minor, k, is
also much iidtiiired liy the continental composers, Uataid-
»ky and Uerlnguier particularly. The atithar ooocludes
his observations by extolling a key in which bat littis ia
wriUen for the flute, c minor ; " I know," be soya, " no
mode whidi can express on this iastraoUHlft ao wall tha
loftiness of grand and deqt iealii^."

The chapter on Tone and Eqiraarioa ia excellent ; in*
deed its raaamd^ga wtjpiaoipli «My IW-pwteMjf twd by
all musical atHdarta, wfaatarar hunaial Aey may prao>
tisc, for tbty are gemiA, and Ibonded on vmemmg pria-
ciplea. It aondndea wtth-ttteadnbaUa advioa.— '* aaeri-
fioa aaaauiion to tone, aBdtaBo<lo eifaieetea."

The r em ai n d er of the volnma is fUIod widi an account
of^ and a critique on, the principal flute-players of the
day; thew are Messieurs Nicholson, Drouct, Rudall,
Tuloil, Bcrhiguier, Farrenc, Canins, Wridner. Sanst,
Ashe, KUfTner, Weiss, Stjla, Dressier, Moitzani, Gahrielsky,
and Negri. This latter jiart must prove uhcful and in-
tcrestinj^ to the amateur, aud not a little uiBlructive to the
professed pcrtbrmer.

The whole *' word or two" is written in an easy, ua-
pretending, agreeable manner, interspersed with pleasant
anecdote ; aud conveys a mass of informatittn on the subject
on which it professes to treat, without fatiguing the reader,
or leaving iihn with alig^iteet f'^i'^j^ th»t he has bean
pciftndiv ntaiL

L OaasBB Vannaioai n Biuvtnu, a» lit C asal f a a ^
Carapa, *<0 earn aMaMirta."ykr tie Piiiio>Fowni> On»-
poteJ hy jBBoaa Patbb. (Weasel and SMart, Ma

fiquare.J

2. Petite Polokaisb, avte Tato, pour U Pi.ino-Fouts,
Compntce par loK. MoscasLBS. (The mmf .)

3. Anoantb mud VARiAnoya en Ike German air " Kn
freie* Lcben fBhren vi-ir," fr^m Srhiller's HoblM-rs, Compeeed
ftr Ikt OviTAB and PiAao-Foava, iy Joa. KomMB.
fnesaawj

i^l. Planxty KeQy,
CZittif ZittI?
8. Le p«-tit Tambour,
4. March, from Mu86,
arrtiHged at RoMOOt /or the Piano-Fortr, Ay L. Sac-
chin 1. (Cocks and Co., Princes Street. Uamoof SifuareJ
5. La Salle d'Apoilon, a CoUeHi»m o/Gsaaaif WtMMUmk^

Nus. 17 and IS. (Wcsiel and Stodart.)
TuK first of these consists of five brilliaiit, AlBcalt nria-

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170

TRS HARM OHICOir.

tions, and a coxla, on a pop\ilar and pretty air : they have
been pfribriiiL'd here liy tlic i-xlri^ordiiiary little hOff BdWMtd
Schultz, aud in his hands were much admired.

No. 8 is a mere bagatelle of two pages; llffht, uirj', nnd
adapted to th« veriest bf^nncra — children who have
lesmt but a few weeks, iodl pabUcnliOM m Mefiil,
ifkoi nnctioncd by ^nich a name.

The tbfad b b duet, in fad, upon a channin^^ well-known

" ■ I ihar^ con-
iftrthe
' oom-

a.ut aura u a aun, in ma, upon a cnanning wcu-a

air, with « good intradnotory udaatt. It is iharl
rfrthw tat «r tiro iMgwIbr (iw guUar, wad Onei
pteii4brtBi botttcnhmdinvitiBtiiii mmtow

Under No. 4 are comprised four aim, arraafed in the
easiest manner poiaible. with the same view, and for the
sane description of learners, an the polonaise just men-
tioned, by Moscheles ; but the liand of so prood a master is
■ot quite so diMemihle in these as in the other.

No. 5 is a continuation of a work to which we have
more than nuce cullcii the cittcnlioti ot' (lur readers, for its
neatness, cbeapneas, and for the pretlines.s of the thing^s
which it repubitdm firam German copies. 'Hie present
oompriM mk air from Semmmude, and a tram-
) in two €etMO pagM eadk

VIBNNA.

Taa aanlnrwy of «b» fiw* ItoMrtwai t MnM km with
.At nwal teal and eirfwHNwa. . The wImm or the ma>ir
jflfrtlj for (hi* interettiiif occaiinn wai, of courae. rmin the
woeka of the immortal mnater himtclf, but with «iuiiic ,irnui(re-
mcuta tbiit from their peculiarity deserve nutice. The &f lection
opened widi » new overture, arranged for a full orchestra, frorn
the S<in;itii, 0|). 4, by Kiipellmeister Sevfried ; an air frmii
La Vlemenza di Tito, sun? with great feeling by Mllo. Fripd-
lovskr ; 3. » new ("kik prtino. AMfi'rn, AnJante, nnd Kutiiin,
in tificcri |i.irts. frti'ii iKi- Sun.-vtA. Op. I'j, .irr.infi-il l'.«r two
violins, a vliil.i, vii'lii:u cilu, c imt r.ih;it<, tlutc, ub«e, clarinet, two
b»»»n.iiH. Imn.s, tr . M|h ts, .m l ilrurriB ; 4. a poclirid tribute to
the mciiiurv of Mozart, from llie pen of .\. F. E. Langbein,
and rerited with great spirit and feeling br M. Anschttts ; 5. a
cu4npu«itioii for five vuicet witli chorus ami instrumental nccom-
paniinent, from the drama of Akamtm* ; 9. a Faatiaia fiifata
u F minor, also arranred by Kapellnubter Sajfnid.
Oar 1^ las been cdled proverbially the arranging ace, and
'■laaili has hem lald «r« and c«n ajfainst this mode of so adapting
•everything. But it must be alluured that there is a wide difffr-
.ence between arranging the overtures of Die XauberJIote, Ji
Don Gioeanni, Dtr FrifehrUi, Olympia, and Jrttonda, for a
eouple of flutes, guitar*, or boms, and one of the ^if^antic
symphonies of Beetboren arnnijcd for four lamls on the pl.^nn

Sa llummol or a MiKicln'Ics. In the fonnor itist.iiicc, iilile
« than mere abortions can be produced ; but in the lultcr,
an ackoowle<l|fcrd um»terpiece can, by the pmver of an rii-
ligbtened nrtist, be formed into ;i vturk of which hc tuHV jijutly
say, that it i* another and yet the smiie ; imt a mere niciii:rc
translntiun, but an adaptation to a bio^Ic itistrujiicnt of the
united powers of many, without its lusini; anything of its imliv i-
dual character. Tlie latter ubservatiutiii will »pt'ly to the piano
adaptations of Kapellmeister Scyfried. He whs hiuiucif a Nchoiar
of the great Mozart, and having imbibed, in uocoiniuun degree,
MMnintofthBt great compgMr,haatniMAneditint«Uaw«riia.
A ■aluKr study of the scum af BlMlthint uaalar hat
mded to form luamiad aai* aaalr todwlof^aiadd whirh
he has imitated, bat faiiadi a naaaer that thcis loiitalkaB an
aawrof a larvUt nalON.
, AaaathaMfmtwailqi Oa FwiariitlaC

as wan as ths dnuna of Akatutrut, amazed for a gntrf
S ith is tr^ wM aaewb i* At eye* of the true amateur, an in.
teiwl seareslf Usiiar to Aat of original works. For it is verr
conceivable that, had Motart now been living, he awaUt
perhapi, with a few deviations, have adapted the parte to the
orchestra of our days ia the same fall and eiectife aanncr.
These observations will particularly apply to the nieces beard
fur the first time ia this concert. The overture, which is foaaM
on the sonata in F, and transpaeed, probably on account ef tha
in»truincnt«, into the more appropriate orchestra-key B, pra>
(juccd « nuist iniit'ii .d effect ; the conduct of the violin passageo
and the manner in which the parti for the wind inttruments
are manaf^ed, strongly reminded every virtuogo of the peculiar
manner <»f Mozart, p.irlicuhirly as exhibited in his svmphouies
in C D, E flat, and 0 tninur. Of the ncn ly added, free, cob-
clading cadence, it may hc .HAid to \w a nei'e>Harv evil, and
would, in all probability, have been adopleil by the ijrr.it master
himself, if he had had to adapt himself to the ears of our time.
The Concertino it in reality a sonata in four parts, but, aa the
title implies, the principal instnintents are treated more as
solo instrument*. The ranlaWta, aadaats^ and rondo, produce
the most charming effect, and its teadsr aictiiro, though it returns
so ofiea. appears u> be always nnespected and is al wars welcome.
The niriafloae of Akatuanu, which are now familiar to the
amateurs of our part of the world, were aduirablv givca, and
make a deeper impression the oftener thejr are beard. The
coluaaal Fantasia in K minor, may be termed a terand paiatiaf
in fre~(<>, ;in 1 it cannot be denied that in it* present ehspe
it is more powerful and efTective than iu its original form as a
sonata. How »olettin, how impassioned, bow tuuchintf are the
varied movenient» of the piece, and the conclusion, in which
the whole closes in a dyin^ fall, could not but strike the mind as
being in unison with the fcclinjpi of the moment, and thccircum-
staness of the closing scene of the exiraordteaiT ana la \
mumrf the preeeat tribute was offered.

mth die caieeplioa afthe 1
after a lapse of some liBHh flof opani hae heea a petAel hhak^
so far as norelty is euncerned ; unless we may rackan m
novelties Die Zmmlerlampe, taken fr<Mn the FKncb, aad Oicar
and Tina, a fancy picture, the music by Kapellmeister Diedt*
sler. With respect to the latter piece, though it is oneofdM
most commonplace things iu the world, it has had its unex-
pected hour ot success. Tlmu^h in reality but a homely meal,
yet the public seemed to reli.li it ah if nectar and amlir.isia had
been de.^lt anniinl, Sn iir.irh fur the l.istc of the fiH«l \'ii'nnc<e
Abetter piece, lunvr.rr, was one entitled, If'rr aititfrn rine
Urulie grdhl.faii' hUnriit (He who iW^i a pit for others

falls into it himseif. j set to music b^ Adoiph .M Ciller, a young
cauHMMcr, who is bv no means deficient in talent. The work,
wUdi is composed m the Italian styl^ contains manv pieces of
great pnaiiae, and be had the heaaar af bciag caUed «■ the
sta-e to rceeiw ihe ecafnitalalieae aflia puhKe.

But if our theatres have been dsBK^ve la novel^aBdlalii«it»
the failure h*« in pert been eonpeaiatcd by nuaMreos uid areB*
< < n lia h d c .ncerti. The principal was that performed ia IhO
Ih'j:, ■,if;!l,-ufer by tlie societv of miiHicianii, for the benefit
ot the widows and orphans of decayed musicians. On this
occasion was given, for the first time in this place, llandelll
oratorio of Solomon, in three parts, with additional aeeom-
paniraents by J. F. von Moicl. To this indefatigable and
praiseworthy artist, w e are ae-ain indclitcd for our ai-qii iinfancc
with a-iiillu-r Mias(H-r|nr^i e of the immorl.^l Handel, in M hirfi, as
well .IS in tlu- uihrr priKlurts i>f tlii^ )jij;.iiitic niind. » e i;Aie with
wnniler .iiid ili .iglit on tin- truth and (tower of e jLpres-iion which
ri'ii'ii tliriMjli mt, as well as on the niajcstv. harmonic grandeur,
d.■.; |)li^ -^ ul iVclio^, commandin* power, and the rich and lofty
Ireatmeul of the subject, but mure uarticularly of the colosstu
cbonia. How full ate tha airs or simplicity, beauty, and
tendernese! Mo^rl, whose neactiation nowng of the lieautiet
af thie fiaat aaelar, «hoBhelaakfarkisBsewi,coa)dascapeb
need ta eseiriat with a lifaiBeaat smile, w he a e w h> heard aay
of theee airt; *'Ah, there is sumethinf iathalT It caaaot ha
denied that Oe^hrm of much of Uandal'a nwelehelongs to a
MW foae hjr. Handel is the lapreseatatita of the
oftileiietoeBlanr. Hack ef the dmraace that i

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THE HARMONICON.

171

between a ip-p.it pnmnriion of the muite of our time and (hat
of th« hfe of Hwdef. U tbi*. — the cooipowr of that period wm

t* aeetmplith idi ebjact bjr all tin IcfMMte iMmt tt
the ait, md dlemimA t* hnt lecoMnt to anf other aid : aov.

no meaiN are deenxd mwotHltj, w> tlwt effect can be pmdueed.
ft woaU be tuperfliioot to cnnmerate the parti of thii cumptM>i-
tion that {rare plt-itnre, or rather it WonU be dillcuk ti» point
1A nnr putt of it th:tt wan not hailed «Ul Migbt aad npiure '.

but if «•* felt iliiip<M«l to iwrtinilarize any one thin? nii>re than
an-tther, it would be the eraml nmrrli iif tlif c lilraiirr <it' Qiiccn
SHcli.i, atnl her verv orifin;;] uir in K niinnr. nri ohue

i>bliy;itii acciHiiii:uii"i"iit. "l'\<c .insl.ituin, \rl; r!, i , I'r 'ill the
pen lit' ( 'iitinsclliir Miwcl, n r\i'ciit''il in a iiuKitrrly tEmincr. and
the !til.i|it:ili(iii of tlic inusif, that vcrr arduous t.\ik — i^ ii: inA:: li
with irrciit l.u t arid nirri"clnr-*s. 'I'he recitative uns t.iii'nl to
l>e full I'f <pirit and hi^'lil) .ijiprupriMe exprcssiiu). \Vi(li
reipect to tlH- additional ai compunimenli, Ihcv are aUrays in
Btrict conformity to the iipirit and character of toe ori?in»l,' and
are exactly of that deacnption which is Milted to tlie present
iial* of tht ar^ aad tbo waul* of th* tiflM.
' 1^ whole «aa mdar the dhoetion of Kapdlmelrtcr Viohor.
whow seal was nareaitttiajr, and who was laudably aapportcd
lir Ae whole of the perfunaers. The execntion was in the
hlrbest deirree eflrcrti*e ; and theoreheitm nnttwaO/ fell. Vft
coanted fourteen cuntrabaaiM, and trtfj other part of it was
rqiiallr well appointed.

'J'he next of importance lunon? oar concerts was that ^itrrn
bv our Kapellinri^ter, Leon d« Saint Lubin. The following
ii ilir list of piece*; I. Overture to the opera KornMimchm ;
"i. Divertimento from Bernhard Hoinberir, for I'li- Vinliirifelln,
admirably pcrfonneil by Leopold Bidini : Du t iV nn llnt^ini ^
^nwu/i. siinir by Mile. Ilcckermnn and M. hrcim-r : ■%. \'nri i-
lions for llic violin to an AuKtrinn nati0n.1l luplo'iv, irivrii liy
iVlov* Sclivrarz, a very prumi»in||^ pupil of l'rofe»i>or Lubin ;
&. iirand new Syinpbun^ b/ the same. With respect to the
overture, it is a composition fall of agreeabh: melody, and well
eandnalad tbraofhunt ; It waa KceivM with fnal emaaiuni.
On tUa aeeatha^ ha^aa the fnutb. Aloya Sebwnrts, two other*
of nearlr Ua ago, of the name of Emit and Wchle, dbpbycd
tfidr talMta «■ the violin; tfaej all pmnba to become virtuoai
of eminence in Aeir prolcHion. and display not only great
powerof bow, but alio considerabla taale and feelinir. Miini aa
la now expected from a concerto, we mutt say that the cum-
positions of M. Lobin in all resperis t-urrespond to sncb ex-
nertationii. Ho is a pupil of the celebmled Spuhr, and showa
iiiinxelt' by no means .uworthf of the (Natnaatcrbj vboae

ini>trui:lion:> be profited.

In another concert, iriven by Proft -sor Hind!*-, im- b<Mrd the
folliKHii; neir inniposition* uf thin master. 1. A jraiid iiiiJitary
Overture; 2. .\ ('onrerto for rnnlr.ili.i-s ; and '.i. \ Pot-
pourri for the siime instrument, executed by the composer
biiiireif. (In the violin and violoncello M. Ilindle diipbiTcd
coiiiijdcrubA- ta>te and feelini^: not so vriih rerpcct to his thini
in:-trumeui, the contrabass, on which he attempted to ritral
Prajfooetti and Dali' 0c6a,by i^aying upon it leverand aopnuw
porta. At a untter of peeuaoiry t^MKolation, thit attempt
might MiMrer the compoaeKa purpose well enoi^ bat win
■emeat to bis reputation, it was quite another affair ; and tbii
wrKward atlrnpt to rival a Mayieder, a BAhui, and a Linke,
was met with louU lauffhler by (he judicious part of the audience.
Upon the compositions thcmaehci — if such «cribblin|^ of notes
can bo called — we shall not waste a sinicle vt ord. Sufhre it to
mx> that Mr. Hindle mutt hare rrpnscd unbounded eoniideoce
ia the (tnudnature and kitid forbearance of the \'ieiiiie>e, tuhave
renturcd on tuch an experiment.

Our f^reat s«'hiKd for clnsaical miiiiii' ol tli'' s o'r> d kinil, \% the
cathedral chun b of St. ,\u[,'u.>tine, tiie ch./lr o. ivhich i.^ «n|i-
ported by Ibe.Miisical Sucii ty ot' tliix |ihu(\ It hk^ l.ir..Miu'lit to
it» prcbCnt celcljntv \i\ tlic exertion* of tlir l.itc .M. (irtianrr,
and his example i« filloH ed by the biudable zeal ot the liirfi-torB,
Baran Piriager simI M. Si-hiueidel, who, with very moderate
fiiMia« aaare no sacrifice to maiuuiu this excellent iastitutiun ia
•U ito fiimitiM eifilfn. The BHel diatingaiifeed auaen
andperbnnenMiMraldtoaeeitahJiihBtent, aad via with
each other ia their MdehVo«in It de jaliie le the aaMt Mb

Vot. IV.

executed hcra, the rboiec of which bospeals the l( t tnste, As
will be Men bj the following h»t uf pieces executed u iUun the

ossetr from A^er one, Beethoren one, ('lirrubiui two,
Eyhler two, Joseph Hajdn aix. Iforzalkn one. Hummel two,
Krai one, Liekl one, Monrt five, llighlni one, Scj fried two,
and \'oeIer one.

Graihialt: from .'Vnirechtsberger one, Eyhler fhree, Oana-
hachcr one, Joseph Uayda fat, Michael Haydn two, Hnrbar
one, Krotiendorfer oMb Meaait on^ Nanmana ene, SeyMed
two. Winter four.

Offertorim: from Albreelitsberg'er one, Ocnelli one, fiyUer
three, JiKveph Hav<!n fivi-, Mii h.irl H.i)-dn three, Haodel OBO^
iiiiri.rr one, Krai .m. M ..-.'rt o-.e, RigMnloM^ BaochinleBa^
Sryirifd one, Vogler one. Winter one.
'/<',, i,,-rm<i: from Alhrachtobarger. Michael Hajrdn, Maenr^'

and VVinter.

Te heum: by .Iinepb Ilaydn.

SJasMTM alia rafieila : for voices and orcan, from Alberieus,
Albrechtsherirer. livinno, Caldara, Eder. Fux, Fils Oebauer,
Jiraeph and Mkliael Haydn, Hofuann, Hurber, Knitiendorfer,
Moeait. Noratny, Prrindl, Reuter, Sebneidermaeer, Schneider»
Sehwendel, fleiibl. Ubriebt. Uinlauf, Vogler. Werner, Winter,
&c. All these arrompanr the serrice on Sundays and 00 the
fratirals of lite Roman Ciithulic church.

The distinguished patron of niu!<ie, Oiunieilor Kirsewetter,
lately gavetbeamatenraofmuxie of the oldsebool atreal, in the
performanee.in full orrlientra, uf a Sercnata, composed la I7I0,by
\. Sr.triatti, to celebrate the birth i>f the heir of the then rcii^nio^
Prime, t 'liarles V'/. This Is an intereiitintr conipoititiiin, which,
by it-. e\;ire».4ion of that more tempered joy that display* itself
in niea»uri"d i^randeur, forui* a strilrintr contra«t to the l)archa-
nali.in jnbili-e vvluch a couipnscr of ttic prc^i-iit div would,
in all pr<dtubiiity, chusc as he%t call iil:iti'<l in lit i>|jjiiion to
express the frclinsrs railed forth by siidi nri on urrcncc.

Lately died here the comnnscr Johann llus^o Worrischcrlc,
who haddlMnigBiehedhimaeH bvliistastrfiil compositions for

mt in Wambcfg in Ibihemia, in 1791.
MitrtK^flna in mnaie Inm the

the piana^ Bo

and «ieeii«d Wa lint inatriM^ona la inmie fiwn the woithr
maaterTama eeh it ir . brwhaee tantraetlona be profiled aoweB,
that la MM we And him lllling the situation or organist to tiM
Imperial court of Vienna. The best known of bit works nren
Symphony for a grand orchestra, which la atill fim|tt<«tiy hcafi
in our cuiicerts, and a chorus fur firar voicee, entitledl Ottt im
Frikling (God is the S priog }.

BERUN.

Konig'icfir Tliridrr. — SiNCK our last report, one only novelty
has been pr<"lnr»':l here, entitled l>fr ^r/i/jti\t'- ta(( 'Ir s L' /tens
('I'lic lliippie»t l»ay of my Life), a musical piece in two m it, with
dancrii, the muaie hy Blum. 'Phe music is flowing' and full of
melody, in the easr French opera style. In the first art an air
and twadueli» ana ia the second aa air, met with eo a aide ra bie
apjilanae._ The other operas ciren w»ra Ghi^ jImUg aod

Jlotttt, Spantnu'e Ftnumdo Cortex. XurmaUl, toiOhfrnpim,
Veba'^ Bmrfantke, end Spobr's Je*$ontla. A new ewnie

Eirfnmier from the theatre at Dnssetsdorf, of tlie aamo oT
etroit, also appeared in the favourite opem Per SfUtgir sm4
Schneider, and produced considerable impression.

KoHigitadl Theater.— The new seasim here opene<l with a
prulog^ue written hy C. v, Hultie, which was followed by />er
f laker all Marquit (the Coachman turned Martini;!}, a coniis
piece full of very lively music, in which SI. SclmielKa perforineil
llic part of the coachman for the tirn time, and was equHlly excel-
lent both in the music and arling'. After this was rcvirerl Blutn'a
opera of Xachtttanillerin (the Sleep- M'alker). which containa
several ihinps of a pleasinj^ nature. On occanlon of Muzart'a
birth-dav, we had an apprupriate prrjjv^ue, composed by M.
.Mallit, and spoken br M. Jlleyer, after which was given Ihia
immortal master's Cost /am tmtte, which, as wc have heiiMe had
occasion tu remark, is excellently east and perfutmcd here,

Thia haa bean a season of concert*, but there was at> one
aMihad by any novelty, except that giren for the benefit of the
rtilihaoL w whtrli itmiiTn irni perfwei

8 B

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THE HARMONICON.

of IIummcrR (rrund concertds !>l.iynl n itli (front ciirrrtti]«i,
' MldKpirit, l)V JoM-pli Kri.,nilski. ;\ voMtli ofpii'lt of
' • •• »«„land " • - ■ • . -

Hllll

mre, a n»tivf of Puland," ns " . a < <iiircrti« by
pot-pourri, compofcd rtpn -s,; fnr liiiii by inusic-dirtTtcir
KiarpilUibi of WarMw. 1 irnpiiiilion produced ti)ii».idcr.ibie

teWCHion: thp nuliji-ct ivn-^ cunipoBcd nf Tnriout I'ulon^M
meludica, hiuI niarkol (tiruugiuiat by great spirit ;
fkt tnuuitiun* from one air t* unotlwr m aMUHiM with fimt
•Un and anlimtMi exprcMiDB. Tbt pfoduet of tlw cooeerf wn
fgllr adMpate to Um wklm of Ooae who imtituted it for to
bmnane anl vMt an tlij«t— In another given by mumc-
dhwlar MMlV m kcudtw otiirr yuulhful artitm MUc Limita
Datid and her bradMr, of whom n-e hava before had urca(ii>n to
■peak. Her first twrformance WM Bccthoren n f r«id »ympliimy
id C minor, which was fuHowed by Tari»tion» on the theme,
^uJairdehluHt. In buth of (bete compoaitiont sh' dupl.^rcd
•fnt blilliBDcy of finger, jidned t« much t.ntc and i-xuro-sHin.
Alkanrardt she exenited, « lih her younger brother Fenlmand. a
pot-pourri fur pisnu and viulin br MoiichclcR and Lafuut, in
wWcn were inlnKliH < d hrvcnl Swcdi»h tiutixiial inelodiCB. Her
briitlicr h!mi favL- a ■. '.■t\iu nuiCiTdp of iiia>ti. r S|.<iilir, in u lui li
he displayed tlie ^'■imJncab ot liis \msv and a lull auJ cxctlltiil
tone.

H. Spontini has nbtaiiied pormUsinn liom our sovereifrn to
derote the profilx of an early urrfumtancc to the unfiiniiuate
Greeks. TIm- opera of Xurmakal will be |iven fur ikit pur-
pote. Kin M.-ijc^tr hai alto aUnwcd • aii h i i »i l l» ltoi tu be «pciied
' ' the Grand Dndiy of Poeea.

ibr Um

purpose in

FRANKFOUT-ON-TUIf^M AIN E.

incer, MaOHW lUMir Ibuptwanm paid m a Hrit
i&tm FHi% and wt wmt hMpr to obaerre tiut
■olhiifr of Ooia pmma whkh hate ao lonir

eifuru is. Aat aba bia maired propoiab htm Om OmmI
roanacement, and k to appear there, with a by no mean iaatgw
niliranl Mlary. A M. Toorny has been recenllr tmgagti
benw who wade a very surceaafur debdt in Auber't Conetrt m-
la CbMT. This opera forms an exception to the (reater part
of thow aiaafn French cumpusitions u hich, of late yean, hmro
isndaled oar Uieatrrn. It i« ilistinsuikhed by aiB«hfiNceof
iitllBthia»(raceaf nieloily, and lini^h of cuiiipoiition. The whole
beapaals cunsiderable invention, and in cunducted thruuirhout
in a very masterly nianiirr. In thi' |i(>r»ivri nf Si?. A«tiitio,
an intrijj:uin|r chailL-l-n-ii-h r jynrtr.in'.i (|uiti.- u> the litV. It
ii to be reifTcttcd tli.a bu>:{i trua> do not tlirivc under au luliaa

sky oul) ! ...

Anions our ri.ntxrts ilic nuist interctlmp was that riven
by the CacHin I'm-nii (tlio nh icty of St. C^ilia), under ilie
direction uf Kapcllun.'i»ti.-r Silielblc. The »electi4>n was aa
folluum: a Gloria in »ix parts friMU P.ilestrina ; a daet fmai
Per);o!c»i'i> Slabat Mutrr; a Cmcf/itiM in eight porta bf
Lrotti ; a duet from Sclustiaa Awh; • «Ml«tt fiOHl lha anMt

Ooft great *i: .
Ml bar ratomnaoi Farifc
•M bwl kot aolbiofr of .

enchanted ui. and which we yet hc^ to see onmpaired for man
jmn to enoie. She performed the ikirt of Astasia in Arur. va
which she displared tiie paritr and fulness of her tone, the finn-
neas of hrr cadeacet, and her excellent ftoHamtnto. 1'he
triumph of her art is in the operas of Gluck, which correspond so
wLnirably to the simplicity and noble difuity ut tier aon^. This
made us the more rcffret that, during lior itlay here, the principal
rhararter in Uluck's Ipkigenia in Auiit should hare been
•aesi|^lied to a young-er tinijer, whii»« talents arc not yet suffi-
ciently developed. Togedirr witli tlic latter, i«|ipc;iri il \\fv\'. a
M. Forti, whose efTort* li;oc olitaineil great ap|ilRiisc. His
voice is of noifre.it cinnpa^s, luir nl .i-iy ri'iiiarkalili' mrlallo,
but he has tlio hippy art of cuiiccaliiijf these dcllricncicK by_
the spirit of his perfonnance, and the prace and cnerfy of
hia doclAiaation. ilcnce, in the parts of ItOH OlMONOt,
ti§ai9k aad FmuMt — with the exccptioa of tho mad aria in
the lint ict — 'ba appeared auitc adequate to what ho umler-
tonk. In the tatter |»articularly he pleated to aiach. that a
rejK'tiiioa of it *a* unamiously called fur ; indeed, the music
of Fau$t ia of that «aaterly Uad, and the mehidiei apeak so
itronrly to tin heoit aad iMBmi, that it it alway t heard with
ftoah ploaattre, and after many repetitions loset hot little of tha
chann of oor^ty. Spohr is a freat favourite amoagit and
tbb makes it the more to be ret'rrttrd that hit sentimental opera
of JetMnda was given lu-rc by a very inctfcctivc omipany.
Sesides, the nioTeinents were all too quick, by which the cha-
lacter of tlic music was destroyed.

illlc. H.ms'f ciiiitiniiet to inireasc in public fai'our. She
gOTc till- (litli. ult |inrt of Donna Aana, with |!Te»t trulJi of
expression, feeliii!;. and diciiiried action. W'c hare an en-
cjurajfin^ Inttauee here of wti.it jicrscvcranrc and iIij'iti! »tudy
tuay effect. Mile. Ileinefcttcr was en)r.\f(ed here about two
years tince at a chonu-iinfer; durior this interval, tlie beauty
of Iter Toice keeping pace with that of herpenon, the has risen
fioB aaimjinlfaayaiatielatbadwwfctobaaittalofiiUa.
Baata. Bar«iiiieebflMi«fi«rikaadfUltiMthikaf«kilbnMr
do^er, thouifh it hat not yet obtained tncb a dcMMaf CuU'
vailon. She it able to conquer great diAmMM. bproaiia
habituated to the delicacies of a noUa fijfjaof aaag. aad yet hat
the good tente t« remit nuiiuiig of lar MAwaart to reach a
mfiu degreo oC aaealltaw. Xb^aaw^aMH af

a A vne by Felix Mendeltaoha BarliiaU?: a du«t Awa C3bara
biai ; tho Mlh Aabi, for two choirs, by Aadraaa Raaibaif 2
the llSth PaaliM, for a aolotraice, by Stadler ; aad a graai
cberua fruai one of the taaase* of Mozart. This wat trkiy a
ooiteat batwaea the oU aad atw time I Which waa the- eaa>
qucror?— This is a qoeitiiMi that Uie writer will not veotare
to decide ; but, even liere, tiieprojjress of the human mind seeme
to kiro, in spite of the many occasions for delusion and crrvir in
an art to calculated to flatter the sense*, and in dcrian«-e of
bigotry and prr-jodice, so inconlrorertibly evident, that no rea-
touiug, however artjlici-il and suphistic. could cimviiuc biiii of
the contrary. The wlioU- iil't1ie'<c tompotitions were perfurnied
by dilettanti, and willi an alH. ^v, a spirit, and a precision
which are seldom ei)uiiU. d. and vian elr, if erer, aurpasted.
The choru'.'-ei, so imp.irlaiii in liie muaic of tlM oU acaoalla
p.irtiiular, left nothiiij: to lie oi-lieJ for.

'I'l;! ^itlitr ronccrl of iiio^t note, was that of muuc-direotar
tiuhfr, wUcn, to<;ether with llai.du » Cri-alioti, wbicll Waa
admirably performed, was introduced to us a yooth of tlie aaaa
of Heinrich Wutltf, one ainonj{ the many houbouse plaola oC-
the ptctcat goaial alaU of the art. Uogarea eoncertooatha-
viulin, and ia a nmaertbat eonU bo expected only fnaa aa
experienced perfomcr. The earthly Ireawme of the ■cehaakll
art he appeart already to have exhaiated j Ibe baawaljr oae* «f
w m A ami f"*J tuao alone oan import.

MUNICH.

11 BcaMT cbvaawlaaeeB anke ua reip«t that thh city, where tho
llaliaB lyrical dnuaa so long and «o suceessfullr floorished«
abonld be defirived of an e«tallli^ll^:^nt, so important to the
Inlervstaof the art. Nothing thin fore remains to us but the
Oerman opera, upon the eKertimis of \( hich we h.n-e now to
depend, and to which every amateur liM>k» with so anxious an
eye. It openeil with // Tancreili of Koii»ini, as adapted to
Uerman wonls, and rrformr l—f.a so it was originally expressed
in the bills — l)y Kapeliiiiei»ter Sticli, of whose management it wat
remarked, that it cimtinnrd Vmt too lonif both for inusir and for
himself. In this n|i<-r;i tin' publir wi re delighted with the reappesr-
anre oftlieir ifreal r,ni>iii '!c. .M;ulaine Ve»permann. It i* irreatly
lotliis sinijcr » praiM'.th if , lli •Ui.'li poSHCuwd of ainazini rieiibility
ofviiiee, she bii» flu' L-n.^Ui-ni-c to reilrain every exu(»crance, and
j.'i'ic the text of In r a;itltiir in its native purity aad aimpHeity,
anNiipii* rather to to ali tiie feclinp tlian merely tocaptlvote tfao
ear. In thi» respect, she fomied a tinfttkr ooatiniato Mile..
Si(fl, who performed ilie partof Ame«ai«, wllebabeejBB
as highly at it waa poetible, aad hi aa Mar M* *he
' ' ' ' darkaatoHiaKenuiaeebafBetaraadnB

perfectly ia the dark aa to the genuiaoL

oftbe naaie. The aeit apcia waa Weigfa Sekwetttrrfmmdie,-
ia wbU *be aai« of BauneBae waa auatained with great power
br Mil*. IWCw- Tbit waa filUowed by Leoearlia, Die Prin-
Meafa oaw Fiwvenee, Olttfe^ aad Smrgin*. The character of
theKoight, ia the Utter opera, wm attempted br Mile. Si< .
bat bar pralonfed triilt and roufaidet were to tadly misplareil.
and the feelingt of the public t<i aadiWf expreated. .th at wo
hope it will operate at a Irtton to a mgar W twi*

' iaawry daae r r i ag artiau

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THE HARMONICON.

Afler tkia our bill of fare wm •xtendiid to MUt, Reint de
(McoHiia, Eurgantke, Jrttanda. Famt, I)tr Urr^gfUt and
Jitr BergkHnig, With respect to the Kurtianthr, it vras per-
fornMd \»Tt for the first time, md h»» Ixr n frequently repfi»t-v|
with incrcaMd »pplau«<?. Thi.< ii anotlur, and no unimportiiiit
proof in favour of «l«o opinion, tlint tic merit* of this djkt.i
were in the first intliince nut sutTicit ntly appreciated. Tu us
it api>enni in;vrki-l bv all the (x-iuliirltir* of Weber's yenius ; it
H full of new ideas, inid new ideas are not at once un4ei*towl :
they rrquiro time to be digested and relished. VkM ifaifsn and
the orehestra seemed to vie with each other in Ical todo joiiice
to this prtidurticm of SO (arouHte and lo forourfd a composer :
nvthiog could be more effective than the imprenion produced
bgr|f«d.V«piniaHktetlM6BN*airintlMthu^^

8iBM flMlMMHbd taMH* «r KapetUneittn Wfaitw, tte
fbllMriw aoaiwUtHM kme talM phoe. This rreat com-
poMi'iUtnttoa, both as director of the rhapel and the opera,
M filled by Kapellmei«(er Stuns, to whom, in this double auali-
fitaliofl, an extensive field is open to rival somewhat of the
fiiinw vk bis illustrio«n predecetsor. The venerable Paul v.
flm. BOW in his SAfcntT-sccond year, nlm rannot consent
to separate from his favourite chapel, fti!l continues in the
exercise of its functions. M. Blan^nni, imiv in Pirii, seems
Cmitrnt witli the honour of nominally rankinif as Ko\ al Itw^rian
Kapclliin'ii'tcr, at least lie does not appear to have taken any
steps towards (lllinsr « higher liliialion. .M. Aiblinger luis tx-en
appoioled to the situation of Vice-K.ini iln.piatrr, vacated liy
M. Stunz. This musician is a native of Uav:iri.i. Ho nent

early to Italy, and after havings finished his stodies there, ob-
tained the situation of Maettrv to oar Italian staire. Dnrinr

srtiich
n

Ibis thne he dittinguisbed hii
he iMd to furnish eficinll/, m will M kf
gmifiMnaOM»,i»,iavUilih»«iiMaiUi .
ffihliw irflli&eMCfnl* of thtu^ndttmpBradthaway
to Us pmsM aMoiBlaMnt.

Lntdr Aed nere, 8%ismund Baron ran Rumtin^, a com-
yoeer or some eminence, and the deaeendnit of » nublc family
of Hesse Ca»sel, whoM eslatea were swalownl np In the vortex
of the FretMb f«v«lutie«. He studied ausie under the cele.
brated lleraascuni. The work in which he first appeared before
the public was the o|)era of Poliilore. in 17S.5. His nest per-
funnaoce wm Humro rl Julitlli , tvlm li wis bmu^ht out in
Paris, anil ai-f[uircil llif cdtn [mim t i iiiiMilrr.ililo rcp.ite. He af-
ttnranN ubtiiinrd th'' ^itiMtinii of s-ipf rintftidant of the roiirt-
mnsicin our dtr, whl^-h he tUled wiU> buoour up to the period

BaUNSWJCX.

Smca the production of Spohr'a Jfrnndm, which obtained so
much success here, oar ■MtwMSMit hM bm nHHd into Mue-
tfaiivr Ulte comparatlTC aclmtf ; and w» Imr« M llaarim''s
JtaUHM Atgtttt «UA ««■ wry etietifilr g«t np. But
iMMMnr critn hnsn beias at wmk, and ind snch fault with
tin M^nftlfe music, that •« doubt whether it will long main-
tote Ha CNOnd. Salieri's A^vr was also revived, and pleased
extremely ; as also di>l Rotritr ilat Schweizermailcken, by
Bierey ; and Puitsl's Princetsc ile Provence. Of compositions
of a figtiter kind, we had Holtey's lletiiner in fTim, which
■ade no great impresHion ; Anf^ly's •SVAu/errcAvinA'e, which
iniiinili d us of the livclr oprra Lra Pa^ft tin Hue de y ttulome,
tad i« fuU of gny ami eii<iveniuc mu^c , anil Aneely's .^im-
truer in dtr Poloni^cfim Srhriti.-r, (A-lvrritiin' in tlif* l*L»]i^h
Tavern), whiili ilii not nbtiiin .inv (jrctt suriT'^s. tbouph the
character of the laiidliird w.u im> well perfuriiii il tiv M . liarh-
Diann. I'hi* i» nil that oar opera lias to hna^t in tin m mv of
novelty, but better tbinp_ are promised us by the uutna^eoieDt,

BHUSSKLS.

COWCSRT has been fivcn here in aid of the Greek*, whirh
MM attended by evervbody of any rank or > .>ri'.e<jiirtH c in tlic
dty. All seemed zealous to evince their strung liberal tcrlin;
on this occasion. In the orebestni appeared a i^reat number
•r amateun, perwMU «f the tni consequence, who contributed

fully the effpct of the band of peufbssere. The (
naiiiented by mililarv trouhiea, amonj^ which was a fort repre*

i<entin<r iMisaolunehl. The twelvr youofr ladies, who in the
Liincfrt biiil cxecutril on tluir h.irps the ehorns of Bards, each
a(li-uil<ij liy a father nf a ftinily, made a eullection ahtr thv
jifi iu.ni.un i\ which was exceedinirly produrtire. A I
grgotliauau wu ohsarved to give a hand f ul of fold.

Tm eckbrnti'il Meyerbeer, the author of It Croclafo, Mav
frurrita itAnjou, ffc. is just arrived here, and i« kh»rtlv to
produce at llic t)iioi>ri nn opera, entiilci! La Xtjmyhr <la
Oanufie, npim which he lias been for some time pu^t artivfly
enjfjifi'ed. It in .-isser-trd that tlii* iii"w produrtion is a nature
likely to increase ani consolidate the reputation which M.
Meyerbeer has alrrsdr acqnim).
Ml B4trhiert di Sieir"'

di Sieigli*, for the dd>6t Mile. Sootaf, At
mmjkifm at «b» T kmm Ito Bio. IMt^w m m mtutStg
MMMGnMa lalMtoft to At AMiiicd wfUi as illwl

ofl

whispered tttt n aaitoin fticflon had detonained <
lier recepUe* m Hk Parisian boards. For the endh'af n»
capita), however. wMeh baa before itaned in this respect, no imH
opposition was manifested ; on the contrary, all the world was da*
I i eh ted with the voice, perton.and style of acting of the little grare-
ful German. She is, we iioderstand. only eighteen, of an tiesant,
jirtite fi<fure, and with a voice which at once surprisetl .nnd de-
liirhtod the (■llnllll^iSF^;lr^ tiv its niuipMS atld the p real piiritv of
what the !tiilinn>i tcrin its mr'.nlto. Her manner i» markra hy
nuK'h nativi* 1,'rarc, and tlif rr \\ \ mo.lfsty in her whole de-
portment, iihirh imparts a double value to all she din's ; her
Sty^r of iing'ini; is easy, brilliant, and sometimes even boM.
Siic sci ins to tiike a pleasure in »portinff with Iho crreatest dif-
licidtie« ; but an the pcrfei tion of the art dors not always
consist in overcoming these, the young and charming dehQ-
tante would perhaps hare done better, had she not been
anxieni to do to much. This wat particuhrly observable in
them u ito haaato (ha Mcand acMn nMch aba iairadnead Ite
grand air from the Sigitmamfa af ItowlBi; ra air wUili Ma.
dome Pasta usanBy wjag la the Mtmit. UpoaltovMa^wa
pcarcel V recollect aa teitoaca a^ a aiQite flaltotfnv diAnt tban
that of Mils. Sontag. To sum up all her excellenrira In a
single vwd, iaSee it to say, that she charms all our senses at
the same moment. A little more chastened taste, and a atad/
of the best models, will soon make this young and pleaaiBf
sinR-cr everything the severest eimnoissenr could desire.

As to the rest, nothing could have Come more apropos at the
present innment, to roniolp ns fur the absence of three of our
hin^rr;; of the first OTcicr, ut whose talents n f :nc for ,1 Season
deprivcil. either by furein-n enfatrements or iihu-s'. It is how-
ever sati-'fiutory lo hear that the return of a mon- p-u: i! sea-
son has hail ii boufficial irifl:ieiice upon the hciltli of Madame
Fndor. Her voire, wc arc hap[>v to Irarn, ha" rr^umeJ nearly
all its powers and splendour ; and nothing in now wanting but
the strength aeeesaarr to enable this delightful singer to un-
dergo dw anttion of an entire rcpreaentatlon. We cannot
allow Wti apiwrtaaity to patwMw Bt a wwdwmaaal^
nMtli ii Mt vMuHt Ito baaafftaaca* VaiataAta Iba 0ft0M
/tefien ha* merited the dii«Mctioa of being a nhce tat pad
company ; we were lorry, on the arening in queaaoat to vAm
a species of conduct which will greattv teno to ftimpwoihr it.
Bordorni, who gave the part of the C'ount Alinavin, loaf iba
serenade, as be sings ctrrything else, with eonectnesa, bat
withmit any pretension to anything masterly or highly finished.
Scarcely, however, had be concluded the air. when the most tu-
multuous and ridiculous applauses were lavished from a par-
ticular quarter of the pit. Some expressions of impatience and
disapproval, which escaped from those who were not hirelings,
had only the effect of rcdoiihlinsf the ze.-U of the cla<pieur». It
was evident to the nion- ircutli manly part of the audience, that
one of this herd of in(>n enaries, known by the name of the
CHrrnH'T! -In Lttstyr, had made its way into the house. We
were even tempted to believe, that besides the usual fee of half
a crown, a few extra glasses of comfortable lii^uor had been
administered. In fact, nut content with procfauming, both with
Ihe giaiynr Sir. Bariofai; ammral «r Ika r

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174

THE HARMOmCON.

nity addrntcd tn inch of their neitrhbuura as did not piirticipate
ill thi< fervtMir of the ninment, varitMis otuervntiunB exprencd
in a UiifTiia^e which was neither French nor Itnlian.

We are pleated to tM £tf Donna M LaffO annouaced for Mile.
SoDtaf't lecood debit, as we are aura it it * cimraeter tiiited
U tiM BvwfnMd pano of tka ywuur afaifw. It to whi'^pcrrd
ttrttlw«>pw»itttf btiwtwJwby Jf w rfttot the repr^Mluc-
tion of which hu been lonur looked for by the dilettanti, with
impatienee. Besidea, the preceoce and active zeal of Hcj-er-
beer hintelf CMnot' fiul to impart to h u odditional interett.
'J'iie iridlaporfrioa of MIle.lloBholli heinf UBfartuiiatelr pro.
lunged, no one could hare come more opportunely to nil Iter
place than this rotini; and farixirite dvbutatite.

July 10. — MaJIlc. Sontaa^ ha-i appeared as Elena, in La
Donna Uei Loiro, wUkh haj proved a nrwsmirre of triiitiiph to
her: «tieheredi«plii)cil rciourcrs which tte did nut tliiiik the pos-
leased, aud hataheivn a pnwcr uf sliinini; in »ty\t» totally oppiiard
to eatli uther. In the ciiv;iiina, mul iti tlie first part of llif durt in
the first act, >ve rei^rcttcd llir aK^i'iirc uf simic of lli lirilliiiut
notes wliiili Mad. Mumlji lli thr<>n- uat. ivitli .such iipJniir.^lile ef-
fect ; but in Die fiiiHli", .uid during' the whide ot" the second act,
alwMtiiifie'l all. b^' the free dciireryand purity of her tones, and
^ lifdjr exprea*lun u-hirh she imparted to the character.

If aillb. Sontaf has siocc perfuriocd the very dilficult part of

Amma, in th« finest of operas, Do» Gitoammi. It .

M if lUt laiuie, (o expressire, to prufoand^ to botlor than anj
othar adaptcil to her natural taste ; in th» (be to poiftetto at
hoMt ntill MadUe. S. ainir* tbe air* uf Motart, it to ■« if she
braatbad her aaliTe air. Zuchelli performed the part of Dou
VtoMMtlf wMl aMKb rnce and abandon. iMadlte. Cinti, who
makes a very pretty Zcrlina, uianil'esled, as she always does, a
si \U correct and pure.

■J'iie rehearsals of the Sirge of Coriiith, composeil by
Ros»iiii for the Grand Opcr.i, arc ^oiaic on with sictivity, and it
is expected to he performed at the end uf thf pn-.'il iit month
(July). The music of the thini .ict has b-cii r.iiu Iv . r.iii|i(>sed
■o Paris. It is said that the Gran Miir.^lr'/ hn-i nui been less
inspired by our climate than by the cIi-.ti- ski ^ uf lt,ily. Tup
Ce'Kc'ui- ha& caused a cboru.i of (ireelu to be cut out, and M.
Soiiini't iia« been chitr|;cd tu produeo OtiWr WIWI that afO But
liliclv ti) otfcnd (be virtimui Turks.

'I'.vo new luelodranieK, La finme f^oiler, and Le fieil
Artistr, nre. nearly ready tu replace Le Ckarpentitr at the
Theatre </e tAmhtgu Ccmiauo,

A repreaeotottun of Der FrnteiSt*, irith a Mkt intwadncod
in dilbicnt aeeiics, to pifpariDf , at the TkUtrt We tOtUut, for
the beoelit of the finally of the lamented Carl Maria traa Webtr.

It has been suited in some of <itir journals, that the actors of
tlie little tlie.ilre in Tiittenluini Stn-et, have performed Lk Cnu-
terlt, anil Lr ci'ilevanl jriine hommt, before the Kiug uf Euj;-
land, in his private apartments.
[Tliis nc believe is an utterly j ruundlens report.— Edit, of

UAilSIONICON.]

.Mndrimc P.Tit.i is exprrted here on tlie 2<\ of .Auirust, to rom-
pli'tc hrr rriir;i:;L-iiu'rit. Shr th-'ii i;"' ■ li' N' whi'ri' she M-jll

roiiiiiiri till iht' iiioiith cf JIay. She has b«eu tite main support
uf the It.ili in opiTa in LuiMhnh for Ifet poor Mpmao ton not
bi'r:i over mirressful there.

.M.iiilh'. Schiafetti, who. without any splendid (alfnls, in a
must r(..«pei'tablc and useful performer, is gone to Drp.iJeo, where
hat obtained a gmni eni^agemcnt.
M. Buieldieu, wbu bad beeu entptred by the manaf er of the
' iv Thcatm to auperiMcnd the briogiaf oM «f
muKA«,bBiwrittmtoaay that the atateoT Ihliealdk
Vfll ftmnt bto fiilfflinf bb pMutotu Thn bttir af tbto

celebrated composer bat been honotutd by an faneitioo la At
^IfeMjomMlofthor

BORDEAUX.

Two llaiiiin Singers, Mad. Tosi and Slf. Lonihardi, hare
been performinj; with preat applaii»e here. 1; is thoufhl that
they are worthy the attention of the adminlstmu n of the Thd-
toaltafiaaatPariE.

M. Rod*, the celebrated vtoliniat, has exhibited his tine ta*
bnti har«, In n couact fifw Ibr the baoeit of the Oreaha.

KtNo'i Tbbavm.

Tub opera of Medea continued to draw full audienees durinf
the greater part of toat auwth. P/cliw tBrtwaU, i. e. Afoitf.
wupeifinMd onee. batin nubnauwMraa to defy aU«o«>
paitoon. It had oetbcen reprcaentad f^ wny weeing andal

fire o'cloclc m the afkeriNMm wai ordered fur the tame eventnp.

The pririripnis had nearly fori^oftrn their p.■|rl^ : thr chiinis hud
lost iiieinory of th' irsi ; Iheri- \v.\a no liurp liL-urd in the
uri'hrslra. and rimre pl.ii,'iirs wore iimv ir.troihhfii th.xii history
has rceorded, or than the poet aud cuinposer ever dre-mit of.

On Thursday, the iStb of Jdj, the serious opera of Zelmira,
one of Rossini'* fiaeit worica, wm« rerivcd, for the benefit of
Sifnor Carioni. We hare entered so mndi at torfe into ttb
work*, both wideallf and draasaticaHy, that m can onljr nov
mention it in reference to the present mode of peilbmln( it.
.Miulaine Past.i, aii a matter of course, toot the character of
Z^lmirti. and it is ahiio-t a» inueh a matter of course that she
cxpriitc'l !icr task, luth as to sini,'in^ and action, in a most
superior manner. We institute no comparisou between her and
Madame Colbran in this character, for the Utter, when she ap-
peared here, no lonjpr poasessed the rocal powers with which
aha had onee bcea *o higdj isfaatod, tbangfa her style re>
mined, and tUa waaaoptaw^ ao akimtb acnllnad, ttoit Ital-
nost mde us forget the dsdcleneiaa of her vahe^ wMebbadbut
just strenj^th eouugb lell to acqimintai vith bcr admirable taste.
SiEToor ('orioni resumed his former character, Anltnore, and
was as great in ii iis before. Sifnor Porto w.is hi^Oily r<".pei t-
able as Lcucippo, and Sig^nor Torri, in the part of Ilo, did
what his feeble voice would admit. Madame Corne^a. as
Smmm, mtg the little allotted to the character with vast jiidg«
meat. Thfa ladf b • vary auparfor musician, Oaagh ahe baa
not had the tuek to make aqr totpmimk Sobh paria of tha
opera were curtailed, amongat WUA the ftnale anftrcd a veijr
injiidiciuiis, iiniuiTc if il abridg-mcut ; but in lieu of these omii-
Kiuns, an aria, written by Rossini for Madame Pasta, was added,
which will neither MigMBt tha wpnt i tton of the opens wror
the Goapoicr.

t. Vol. III.

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THE

HARMONICON.

No. XLV.> Sbptbmbkb, 1826.

SUPPLBUENTART MEMOIR OF PIETRO WINTER.

Tm bum ofWiaUrlwii^ now before the public, any par-
ticulars re.<ipecttng him cannot fail ■. j . m s luiiMdtruWe
interest, wc are, Iharefare, happv liavi' it in mir power
to lay liiforc o>ir reu<ltT8, in additinn tn lliu nicnKjir alreudy
pivcn ill itii^ work*, the following anecdotes, derived from
a soiirio, the twptctadiility «f whieh uunj be omMcnlly

relied u])c)n.

It has liwn staled by most nf the biographer* of Winter,
that he was a scholar of the Abb<! Vogler; but it now ap-
pears that the general belief on thi^i subject was founded
on erroneous glands. The circumstance that ^ve rise to
the report was this : when Winter had reached nearly his
twentieth year, the AbbtS paid a visit to Manh^in. and
Winter for a short time profited by his iiutractions ; but
iuch WW the eoceBtrici^ of this man. that U» pupil
quitted Um In disgust, aai lud the good Ibitiine
tine after to oqjoy the inetrnctiau of SaUeri. of Vienna,
Imt as be bad now entered upon an active career, the op-
portunities were few. So deeply rooted was tlio aversion
thst our artist conceived against the Ahb^, that he olwnys
rrppilnl tlic insinuation of his having been his scholar.
From all these eirc-umstanccs, no one who then knew him
itnapiic'l that he would ever beroine irreat in composition.

In I 776, wht'w circurnstancc; ohllgrd the French opera
Compuny In (j-iil Maiiheim, the celebrated Lessing formi'd
the idea of eslalilishiii!; a (ierman opera there. The plan
was carried into i'\ecution, nod Winter made director of
the orchestra, where he was in his proper rlrment. He
had here an opportunity of execating', besides some of the
lighter works of the French compoMRi, such as Le Dftfr-
trur. La Udlc Arthte, f(e., the more maateriy compositions
of Jomelli and Ciccio da Majo. as well as Mhweizer's Al-
cede and Gtinter von Schwanburg. These great works oc-
cupied Us whole time, and h wna often remarked how
totatljr be was abaoilied in ttie study of tte masterpiccen
before him. It was now that he first attempted composi-
tion ; and much did he produce, re\'ise, and reject. His
early essays were devoid of unity an<l connexion; his ae-
compunimeiits were feeble, and his harnionv often incor-
rect : yt tlie tirst voice thai -^poke wiihin Inin as he
himself expressed it, fur from beinp a commnu voire. His
own natural taU ul, the eonst.inl exercise of tlie violin. ;intl
the varied metn- of ihe ballet, hod early given a direction
to his musical (ei iiiip:, and instilled ioto his mind the princi-
ples of melody. Had he been a piano or an organ plajer.

Yobiy.

• See HuaeaiBos, VoL UL,

the contrary mipfht possibly have been the case. Of his
])roduclions at tljis period nothitisf relnains but two boOella
.\s yet he was onlv an instnimcntal f oinposer.

In 1778, cireiun-kuH i s causeil the Kle< lor <pf Manheini
to transfer his court to Munich ; Winter remained behiml
in his native town, am! a society bcini^ tornieil for the pro-
motion of poetry and the fine arts, Winter was chosen to
set to music various compositions of the members, wfaicb
were adjudged to be adapted for that puq>ose. This proved
a powerful means of developing his musical talent, and his
knowledge of that important branch of study, but too much
ne(;lpcted by the generality of composers,— -the knowledge
of the connexion betwem poetry and music, and the me*,
thod of rendering this connexion efficient. His views warn
Ihna otended; be waa taught to feel tha real d i ft wBce
between inrtraneutal nnuie and eonpoeflion ftr the vnioej
his knowledge of dnmade music was anlamdi and Iw
began its exercise in the melodnmaaorilfwijni, Cormjmd
Alonzo, and Lronardo und BUmdoui the latter of thea*
abound* with deep and effective harmonies.

In 17S(i. appeared his first complete opera, Iltlcna mid
Pnrit, intermingled with bullets and Ktrikinij warlike
music to pantoinirnie action; this was shortly followed by
Jitlh rophi'ii. Hut it was to his journey to \ icima and
his r( '-iilfn: r near S.ilieri that he was indebted h>r u full
insig-ht into the secret-- of his art. He hud hroui^ht out
three of his gjaiid ballets on the Vienna starre. namely
Hfinrich IF., Tod des Jlekturx, and Inez dr Catlro, when
Salieri, meeting liiin, exclaimed in a Jocose tone, " So, you
have hrnnght with you the whole Manheim orchestra in
your portmanteau !" Winter Mt at once the force of this
fepioof: fiom that moment be renounced scribbling fiirin<
atmmenta, nul applied Mnuelf in good earnest to tim
treatment of that meet benutifhl and peiftot of aD initni-
mcnts, the hmnan voiee, bi wMeb the aequd diowed bb
admirable proficiency.

In 1791, he proceeded to Italy, where he increased the
reputation f^aincd in his own country. His first opera eom-
jKised there wa.s An(is"»^, produced at Naples, und after-
wards the Fralflli Rirali and Sarrijlzio di Cri 'c, for Ve-
nice. These works showed the hijjh dcg-ree of finish ho
had now ohtnined in that department of the art in which
he felt most ambitious to excel. From l7!)l(ol79G, he
resided nt Vienna, where he pro<bicci! some of the most
effective of his works ; and among others Dai UnUrhro-
chcnc Opfetfat, which continues to be one of the most po-
ptUar of hi* w«ika in Oermany and Italy. The text of this

1 C

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176

TOE HARMONICON.

opera is from the pen of Huber, but contains
fvhich were the suggestions of Winter himadf.

From 1796 U> 1800, he resided at Prague, where he
produced, lunone other compoMtions, his two celetmUed
(rperaa, entitled // Trum/o dd lid Smo and Maometto.

At thia period, the poUta arte, and pattictilarij that of
nnaieb wevo wandj paUoniifld 1^ tiia niidj of ne Elac-
tor flf Bcfaria, andltalciiwailheceBlmaf dltiwtwia
akgaat »nd daoricat. Barns infHtd to uadcttake the
diraietion of the opera tliere, and gm tha pabUe Ua 11^
Touritc upcru. Maria ton Montalhan.

Between the years 1803 and ISOj, hp riuiil a visit to
Xiondon, where he produced his three granii operas, Ca-
lypito, II Rallo di Pnitcrpina, and Ztiirr, the chief clia-
rattcrs in which were sustained by Mrs. Billlnirloii ^md
(irassliii. Ilc-^idcs tiii\-ic, hi x^.iw tin' p;i;iiul l>i)llet
of Orphic, wliich lendcti greatly to enhance his reputation.
It was composed in a style at that time new to the sta|fe,
unitintr the energfy and vivacity of pantomimic to all the rc-
gidurit) ot dramatic music. Fnim London he proceeded to
Pahs, where he produoed JaatericMK whioh was parinned
at tha Acadisda Royah da MuaiqiM^ and obtdnad vary
«Mit aneaaao. Ha was penuadad to tiy hie powan «pon
Qiinaak*aopan.aMitr|<Mfaai; lAiii had haan aat to
anie hf BaaMnn, and Montliad hf Candeille, but who
JHldid rat Glda of his own to tta original mumc. The
■aSM prapoaal had been made to Oluck when in Paris,
Imt be had wisely rejecte

the n-i'nrrul w:-,h, !i<- fiirf-au lliiit he wus (Irawiiif; down
Upon liiinsell a blorm trnui the arliuircrs of Kuiiicnu. Whut
he anticipated actually happent'ii, -.i-.al Iw Ix chulc ilir vic-
tim of hi.s complai.saiicc. The same c/pcru u a-i afterwards

.peribrmed in Limdon, »iih little success.

In 1814, tlic liltii'tii vt ar of his services tu the Ilou&e of
Bavaria, was l eli-braicd in a grand jubilee, on which occa-
sion his Hoverei((u wa.s graciously pleased to invest him with
liie honoiu« of knighthood. Ilia saioe year he produoMi
hh celebrated Battle Symphony, on occasion of the general
peace, in which, not content with tha usual powers aibrded
him the gwhea ti a. ha ca us e d d^ipaia to bahrtHidBeed,
nUchwaaa-woriMd bj BtachiMiy, in aider to unitato the
firing of Whole battaUoos, which produoed am^Oeot atonoe
lood and huficrons.

At this period it was supposed tliat Winter, now ad-
Vftnced in years, ond devoted to diurch music, had en-
tirely renounced his tlieutricul career; when suddenly we
find liini, in iHlb, taking a trip to tlie north of Germany,
in company with the celebrated siinjci, M;.<1. Vosporuianii.
Here he ffave a series of concerts in most ol the princi|>nl
towns, and tlience directed his course to Milan, where he
superintended the production of bis opera of Maometto, re-
cently retouched by him, and into which he had breathed all
youthful tire. The follow ing year, he brought out, in tlic
carnival scastin, Lt due Faiudkiuri, and afterwards pro-
ceeded to tienoB, where also ha ai^arirtcadwl the produfi-

. tion of his opata, Li dte FwdbM.

Uis last eoniNMitioB far tha aliM ima a oonie pieoe.

,«nlitlad SaagHr wul Ar Srtmibr, ftandad m the
^-fawtm vnedata of FarindU and the Taitor. This

•piaaa COatinuas to ha a groat bvourite on many of the Ger-
xoan theatres. He aaotfnned composing for the church
Up to tile very period of his decense, v^liith look place in
Hunich, the 1 '^r!, nf" October, 182j.

In Ills draiiiutiL music. Winter is distin^ii'ihed for his

'Otienlion to the prevuilinfr passion of the rliurHcters, and to
tt^ rigidly correct adaptation of bis music to the_ words.

Zaire, ?fc., they are eloffanl and pure. His earlier worlio
often exhibit airs that are, to say the least of them, com-
mon, sometimes mean. His concerted pieces shew great
taste and knowledge of vocal harmony ; but this only ap-
pears from about tta same period when the improre w eo t
in his melody camounoed. In &ct. Winter profited most
largely, and dieii not TSiy dafauibly, by studying tho
wsrha of Ifoaart: tha great ciaofa and atiftiif hnpiove-
nwrt in Us a^la, and hi tha mochaidam of hb aoores, are
distinctly to be traced to the time when the compositions of
the greaiest of modem musicians were becoming generally
known in Germany, and copies of them began to circu-
late ; indeed, it is almost impossible to hear any of those
operas of Winter wliii li In- proiluccd after the fame of Mo-
zart was established, without at once perceiving how much

be was indshtadto Us hii^-ciftad, vnihraUed, ooouliy-.

man.

The overtures of Winter shew great knowledge of or-
cbesind eiTect ; those to Maria di Montalban and Zmrt
are eutidod to rank wldl tfie best compositions of this hind.
His chonisaes too aw marked by a simplicity and gran-
deur, not alien fboad hi the more modern productions of
theltalianstage; they possess the Icsdh^ merit of OInek's
choral pieaast aided by an unpravad bamoiqr and mOM

OfDkS UxTEttBHOCHENK Opi-'ERfKST, or TuE IvTERUIPT'

ED Sackifice, a Grand Opera in lico AiU, the poetry
bjf lluaeaT, the Mutic by the Chevalier Wintbr, per-
J n r m t d Ar tkejirtt time in UuMjaomtryt ot.tieJSn^iA
OfrntBume, Avgiutl, 18M.

Do* Untairodime CjtJerfeH has long been recognised
as one of the masteipieees of the late Chevalier Winter.
Since its filit prodnetion in Vianaa, nearly Ihir^ years
ago, it has naver «eaaed to lahk as one of the ftTonrito

cUnical vorimafthaaanaaB ataga^ nor wen thai
ftstldions erMM offialy taidf In paying hoaHga to tta
merits. It Is a««r sercra] yean since ft became ftmi.

liar to the principal Italian theatres, under the title of
// Sacrijlzio Inttrrotto, and more recently it has been
naturalized on the French Mn'rc. Willi siith examples
before our ryes, we ate the more dclif^hted lo be now able
to i liiini it :i.s ovir own, attd to anncnmce lite pleading and
ackiiowicdiied fact, that of all the loreiiCii operas repre-
sented on English boards, scarcely one has be»,'n so slronffly
cast and .so powerfully performed ; but, what is a still
greater title to praise, in DO opera has so much respect
been shown to the original music, which, with some very
trifling exccptioM, is given without any omission, and
wliat ia still hatter, without the addition of any fofeign
matter, or any violani transposition of Ae parts, libeitiaa
which, wa an Mtiy to ai^. an beeoming more and more
giarhig in dutt school «f music, the Opera, which ought
to show a better eiamplc. It is by this conscienlious re-
spect of the score of a master, and by this alone, that the
beauties of liis cuniposilioii!* can appear ii; tlieir true light;
it is thus only that ihcy can be recopmsetl as a consistent
whole, and be seen in lluir i)roper natural proportion.

With respect to the plot of the present subject, upon
which Winter has cvercised his genius, it is, as might
naturally epougb be expected ficomn sUmt. the locality
«f iifekk it laUin Ftn» dmtt tha paikid «r tto wIM

Digitized by Google

ITT

.#taqaert, of a romantic cftnt ; and yet, upon th« whole,
tiw incidenU are well adapted for the display of rarious
apeciea of nnuic, in portraying the paaaioM of love, hafared,
cnv)', jealousy, &c. and afibkl w oppctUmily iw th* ia-
trodiiction of pktureaqac aooMqriMikBdlV
Tbe diMMten md u follwr > i ■

Tha/aM of Para

Mr. J. Bum.

■mnt

Mr. Sam.'
Mr. THoinn.
Mr. DRsaixo.
Mr. EAtT.

Mint Patow.
Miu Hamiltoit.

TMtM GcMVARD.
(..Miat SOUTIIWSLL.

,HUbPrieatorte
, aaEiudiihoian

_ iAmmttm'

*yMMm B Spaniafd^

JWa

Oranf, a Ppnivinn M'.irriflf
Myra, twUr to JC««m
JRlvira. a

BalUa >

The outliDe of the story is thiii: Fow/Mand, an English
eavalier in the flnaiiiah aerrice. haa been betoothed to
DamtaBlt ir a^^ Spaniah lady, who has anonMpMii il her
iMktBt, tfaa oomnaiiduit of u expedition i^gaiaM Pani.
wiini their union U nraviMtod by the cuptora «f An ia.
•ndad bride by «ha Fufi—. Her Iwrer. who appean
te bnvabeeii attnebed ntfierthreuftfa natives of )^titwl«
An pMrion. does all in his power to recover her, but in
mid. In the meantime, a variety of riroiaistanceii, added
to certain marks of disrespcrt «liicli he has received from
her brotlier, dctcnniue liim to quit tlie Spanish for the
Fi'nuiau iscrvicc Here, under ihe us^uIm'll name of
Sidney, he has. tiio good lorlune to rise to Uiu rank of a
Peruvian leader, and obtuin the friencLsliip of Rui ca, tlic
Inca's soil : meantime Elvira h a captive in llie royal
palace, hut through the intercession of Myra. the Inca's
daughter, obtains her liberty, and becomes the friend of the
princess; through tlie absence of PaulJcland in the field
nnd his change of name, nhc knows not that the gallant
EngliiihnMn is bur ftimer lover. At this period of the
Btory the open opens. Intelligoice airiTee of n giaad
and Duccessfii] battle $ tt b dedond Owl the Hntrian
ftiRM bad been iwilad in the int InetaBnib till nJUed by tbe
bwwo Jj wI Mi n rf . who hed enred the Incs'e Hfb, and kiUed
'flpyhhew wn oBd r r. his once intended brother-in-law
ll Bis own llud. Plrevious to this event, the fortunate
adtenlnrer had gained the devoted love of Mi/ra. Their
Mauhnient is known to Roeca, who intrrefdis with tho
Inca, his father, iu their behalf, nnd])ie\ails ution him to
bestow in token of gratitude the hninl of Myra iijinn
his noble deliverer. The simple inci li :it i 1 u iuliv,naii
which Faulkland had taken from his ])rostrate foe, and
(fiven to Myra as a trophy of his success, reveals the secret
that it is her former lover who has killed her brother, and
is about to many the princess. A recognition takes place ;
Tcatlkland admits the justice ot' the prior claim of Elvira
upon his heart, end anDonnoee to Myra that the voioe of
duly forbids his soul to yield to » aecond lore Myra is
all desi^ation at the annonaocincnt, bn^ u will leadtly
h^MUaprted, the rtiMia b«wwn hm and duty ia
;«*Med in fcvour of the ISttar. Fbcd at the wjecflon,
"ao B panish lid^ tows rerengo, and seeks the means of
MMUng it IMb U readily found in the person of
^tq/tru, % Peruvian general, who had himself a-spired to
of Myra, and who, therefore, naturally enough
mon cause with Elri ra to rJTcct the dcslniction of
But not only does be ame to second JSZnns's

with having binsphemed the S«m,
by a refinement of art and cruelty he oovtit'vca to make I
gentle Myra herself an accompUce in the plot, by paw
suading her to believe, that it was a hannkas stratagem
which »hc might turn to account infldn^ tiw wavering
aflbetions of iiW/hW. Now it docn appear that the lit-
tar,lihe«fODd Aristiaa, had with 1
been oaiBg over haaly ciBnta (o aaka * <
priaeess} bnt In has never ta n i wred to^blasplicnin.tho
ana. A aahnni aaeriflee is to take place to (hb mat
Divlailf of Vnru, and Maffrru, having prerionsTy bmwd
the priests of&e ORAriE, takes this opportunity nf pub-
licly charging Faulkiand with the crime of l)lasj)hemy
against Uie sun, upon the joint testimony of Elvira and
Myra , the latter, though, not without some hesitation,
giviii;,^ lirr testimony for the purpose above stated. The
Oracle declares that Faulkland must die to appease tlw
wrath of the offended Deity, and in spite of the intercesiSoB
of his friend ilooca. he is seized, and sentenced liy tho
unwilling Inca to the flames as a victim of expiation.
Thns ei^s the first aot in the midst of the greatest cob»,
fusion and distress.

The aaeond set gpua wtth a veiy deqnaat appeal of
Roeea to the soldieiT and tlia awsmhled piksta, lamindiaK
then ofaU thatJWUMdhaddonaindia aerviceof dw
slat*. Hieeloqnenctlma ihedesiRdcflbetiqiOBthoniea
iriio had fiMtght under the eye of the hero, but £dls to
soften the priests of the Sun, who, in fact, have dictated to
their Sovereitrn the fute of their vir'.iin. The ill-fated
Faulkland is \isiicd in pri.son by the Lira, who l.iinents
the fatal necessity that has coinpeliLd liim in pruiiounec a
doom so savsre. so repugnant to tlie feeliiii^'i and wishes
of his heart. Tbe lover of Jfyra bears hi-i l<il «ith firm-
ness and resolution; the only paug that rends hi* bosom
is the n flection that tlic object of his love should so
uiiuccountably and so cruelly have joined his foes in
bearing evidence against him. Myra herself begiaa
to perceive that she has been made the dupe of bean
artifice, and tltat she haii unconsciously contributed tO laaK

his dreadful doom. As the teniUa ooavifition comes npoB
her. agpnj and despair diisn bar fiwrinv and uir
she ludiat dnongh the pahoe. pKMUbnbig bit
MeanwhDe tbe priests and tfaetrlbnoweralMMe

home Faulkland to the place of execution, where a pjsa
haa been erected to bum him. Just before Favlmani

is led to the stake, /{u'.i \shi) has ■worn that he should
not die alone, and liu" pt rsuuiled inauj warriors to assist
him in rescuing Fau'l/and from the (laiues, rushes in,
accompanied by hin tollowers — the priests ami their as-
sistants insist on fullillinc: 'he decree ol' the unii le — liocca

and his people rescue Faulkland — boili parties prepare
for the strggle, when Myra forces her way through the
crowd, proclains Um ileceit that has been practised upoa
b«r by flMvaad Jfifflm, and intemipta the sacrifice. At
tiw same moment, tbe priest, whom the latter had bribed,
ia tonehed with remorso, and reveals the whole scene of
imposture. FmuMmi la aat nt libet^ aasidat aburatof
general joT ; Adw eadsayoaw to stab bcrsdl; bat it
]H«vented by FmUmti, and thatraitor Mafftru 1m eon>
demncd by the tnea to be btnnt upon the nyre raieed aC
his instigation to punish the innocent. This senteoee
is, at the suggestion of the generous Faulkland, comonited
into banishment ; Elvira make* her exit from a scene
where her presence does not adil to the pleasure of the
party assembled, and the pu re ends in tlie fOOd oMmf^
with the h^ppy union of the two lovers.
W« llMjMMI'ililfM Mail, becausck ftlM

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178

THE HARMONICON.

open of thisatrong nnninl charaoMr. ft Aatinct notion of
situation is absohitcly necessary In order to convey a clear

and sulTicient idfi nf the nafiiri' nf f!ie t;isk ofthe composer,
who, in the presi-nl instam .■, ha') Ih imi eimaeiitly succestsfiil
in «vailinj; him sell ul all the mean'i and strong contrasts
preactited to him by liiu puet. It now remaina to ^e«k
of the |iic:e with reftiaiM to tiMMdmrand dUMMt of
the musical pieces.

Tfie Overture is pleasini; and cxprcHHivc, and rliiiifly
remarkable Ibr the s*kill exliibited bv tlie composer in
availing hiiuscH of the varied powers of all llie iuslrnmcnLK,
in producing a grand and harmonious whole. The opera
opens with a splendid and expressive chorus of Peruvian
p«ople, in an address to the rising Sun ; and as it is not
always the Ate of good muaie to b« wedded wfth good
{NMby, w <|Bau the pmiigs wWt plmwi * p—
The roseate dswn has drifen
The ihadei of nif fat away.
The dsfk deep blue of heaiea

Is Beltby into day.
Tke rilwf aiiits of UMNirfnf

In emfinf Toiunes riie,
As thtf the earth «rere waftmg

Its incense to the skies.
The power of day it spreading'

His red of lijfht on high,
IIm ^iilden trlurv shedding'

O'er <;if!ii. .vA si-a, and sky;
It «!ec|i< ii]'iici the mountain.
It pl.TVR n! )n!j the brake, ,
It sparkle* ill the fiHintain,
And (lances un the Kike.

FiUiicvma, the high-priest, enters, and joins in Uie
general hymn to the lord of day ; he hails the brightness
of his rising as a happy presage to tlic w arriors of Peru,
then engaged in the field agtiinst the foes of their coiintrj'.
Warriocs, from a distance, are heard singing paeans of
trimniilt, which are responded to by the ^orus; and
^0 oeene teminatea bj m magniflrwit air of a wariike
chanetcr, sung by VStaeuma. Then is • not very snc-
eiHfiil vttenmt at hiunour in the character of JPedHBiP, the
servant of Faulkland ; and in the second scene we arc
inlrod\iewl to his master. He sings rather a noisy soiig^,
descriptive of u b.'ittle und of his own heroism, which at
least has the elleet of culling tetb the fidlowilig gay ud
satirical song from (iulinif ■

We niaidcns, mark ii>e * yield our IdVS

To none hut tu the hrave ;
Wo prize their wtirth all price aboTC,

But scorn the braeifiirt ktiave.
SboaM the youni; heru steal a Vllt

We hardly could say nay ;
Should cowards venture on such Ufai^
Their ean the forfeit pay.

In scene the tUrd WO hsfO fho ftllowisg gnuid

of victory X :

All hail to the irixDiead irhn^e po\rer

Sheds round the briifht empire of day I
The clguds o'er our cui.utry that lower

He chases like ni-ht rlrn H airay.

II iil. all hail!
The ranks of our f.K -n.cn all shattered.

Shall rally no rni rc in i![e> vnr,
As leaves in the autumn arc scattered

By tte hNalh of the tempest afar.

Hail, all hafll

* Amagvd foe llw
llo^ p. 1«.

♦*

^lt•.

in eat

t8aelieriSsP»m>

This is Inwawiieldy MIowed by a sestett and cfiorns,
which some critics have considered as one of (he finest
compositions ot^ the kind from the pen of the master.
How animate<l the patriotic sentiments expressed by the
warriors just returned trom the battle field ! How sweet
and sootliing the invitations to repose uttered by the
femule voices ! The simple and touching melodies of
this piece, supported by the most energetic and expressive
harmony, cannot fail to act like a spell upon every ear,
senmble to the higher beauties of composition. The
fourth and iiAh scenes contain a succession of
gems of the first water. The first is the tender and*
sive duet between Ifyra aMd FmMkmd. whn he :
her of the prior dain of Urirm to bk heart; teDa her
that the volee of Imperloua dn^ hide Urn learn her, and
the two lovers 1>id each other a hcoiijaidiag ftnnicIL
This is followed by the recitative and air of maffhu, •
masterpiece of dramatic elTect nn<l characteristic music
Next comes the celebrated air of Mi/rei, which breathes
the very soul of tender nielunrholy; the effect of which is
preally heightened by the mellow tones of the horn in the
aceonipaniment. Of all the pieces of the opera, this is
tlie d«icided favourite in Ucrmany. The words are as
filhnr*:

Ilmv blest the hour ere sorrow

Hail 1 li.i» il iiiv hliioui away,
\V\kh each reluriiiiis; morrow

Still found nic free and eay ;
But now in prief I languish.

The day quite endless seems,
mblls ni^ht proloogs my anguish,

Tla leit^GMd, leMHiMeas powsTf

Has loMt'd ny sad flf mk, ■
Aad bade me moii» the hour

He first became my |
Hiiw blest the hour (

Had chas'd my blooDi away.
When each returning- uiorreer

Still found me free and gay.

It would in this place be an act of injustice to Miss
Paton, not to pay onr feeble triluite of applause to the
just, simple, aiul inipassioucil luunuer in sshicli she exe-
cutes this beaulitiil air, u iihlioliliiiij every unnecess.try
oniamcnl ; and — will the gods liclie\<' it ? — even con-
cluding without a shake ! Next follow.^ u duct of
considerable power between Myra and Maseru. The
latter is employing every art of persuasion to induce the
hesitaling princess to join himself and Elvira in the aocu-
aattoD uainst Faulkland, which he represents as merdf
an eiqpedieut to enable bar to aecuie tlie affections of har
lover. This is a compoeltioa of great power aad i
ncea united. InthiaplafleweieiBarit^onlyin
deviation from Wlotera score. In the or^fand fUlow* ft
^lendid bravura air, sung by Bhtrat mt te tO fro*
bability the omission will oe rather praised (ban Uamed,
when it i.s recollected that the air in question is one of the
most difficult things written, and therefore far above the
powers of the sinijer to whom the clmracter is assigned,
though it is but justice to remark, r/i panfinl, that Miss
Hamilton's qualilications as n sinjrer ure far al>i)\e me-
diocrity. In place of this bravura has been substituted a
cavatina of a melancholy character, taken from another of
Winter's operas. A duet of a very vigorous and playfiil
kind, between GuUra and Pedrillo, brings us to the finale
of the fint aet, a coBipoiition that fimna the titanijph of
ihe even. The eoadnot of tfiie pleoe ia

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THE HARMONICON.

179

tJirouirhnnt : there is a grsdadon of feeling and effect which
cunnut ImiI strike even the least ofaMrvin^^. Frtnn erao-
tion.s of the wftest and gentlest kind, the henrer is insen-
'aibly cotiducted to the g^rand, the awtul, and the sublirae.
Preparations are made for a sacrifice to the sun ; a choni*
of priests and virgins opens the sacred rites ; an air of
ihe bigti-priest fbUowit what a nwah * ia heui, and thm
4he Iiusa ent«n^' tlMt Am MIoiring awMt Mid <!•«••
■ rtJ

O Son! in flofy MMriflg,

Beam |rnicii>ui on our land)
Benij^nant blcuing^ puiirini^

On Prru'i luppr itrand !
Accept the fih all Inirlr
W« hriop ""ith ri(f« aWne,

■ TkykHlile can n:.iLe it bui,r.

And worth; uf thy thrine.

The moTcment then progresses into a quartetto, which
subsides in lb* fidlowfav •wwlly-MpplicBtiBK chomi of

virgins { :

Before thr nltar bending',

A inuw-white lamb we laj,
IFhik with tiM '

Aacend the gwri^irs^y^^^

HwAh

Of Ir - "
In

. Here follows one of those strikinnfly-coiitrusletl situa-
tions, of which Winter knew so well how to take ndvan-
tniTP. A sudden temj)est is heard to ra^e, uud shrike the
sacred temple — all is agitation and alarm — the liigli-priest
proclaims that the Okacli is offended, and inquires whu.t
can break the spell, and afpum Um dirinitjr. The Oracle
apcaks, announciug that mm atamli nnHiairiml there who
kid dared hiaapligme bis name -Tayance ia demanded,
is named aa the dnndcr^. The high-
Aa culprit t» ha iHiniid aanf to '
The htea iatcnnrea; ha dwaanda wiwlii
the accused utter words of blaspheoqr tigtbui liw MB, and
Mafferxi, EXvira, and 3fyra appear as witaaim of the
fact. This introduces an air by FaulkUtnd of a Tery varied
and expressive character, in which tenderness is slronply
contrasted with force and energy. The whole of lliis
iwerful and masterly movement concludes in a conflict
otwr-t'ii the feelings of the different parties, some demand-
ing veiii^cance on the culprit, und others expressing a
resolution to save his life.

The second act opens with a quinlett and chorus of
warriors and priests; part of them call on the Inca to
immounce sentence on FaiUkland; part remind bim that
■wrCY is the brightest jewel in a monarch's crown ; but
mgM by the solemn denunciation of the bigfa priest, the
Jnca it obliged to comply. In this place occurs a beauti*
ftl trio tHUnnMtg^m, tiM and the high priaat.
latht nmm i aeaoa wa iwaro ttte fcWo i ri t pl aM i a g hoPad,
^MAUmmghf Bailka, ana of tho VenriaB gUi who
WHaAi on Mfyrm, hi order to aMMaa hm niatawa fiwa the
■ahmchoiy in which Ae hMannk abea ftviiig the evidence
agdnst PaulUaiuH.

* Kof- Mu»ic, p. m.
t Srr M„,ic, p. IM.
J Se« Mu«ic, 11. IS4.

♦ The rStxtuI Itic ipcakioK in thii place, »rcomp9nied hy Irom-
boDCi, will aot Tail to (trikr the amateur b.< h- ann.; u miliiUi rl
■BMMblaBce to the sew of ZmiW ia /VrwcAut*; both how-

lalhat

the

To love itill a «tranger

Ii tbia little heart,
Mur fear 1 tlie dAOj^er

Of fccllaf bia smart:
Mrheart of its ficedom
no faioe it laa|^<->
na Men T o^ Uad Im^^

Too wiw to be caaght.
If sonte ten or tweatf

Fond wooers I (lif^ht,
Wh.tt of thKt ? there are pleu^

Of irudfeons will bite.
Tu luve ttiU a ttnogtt

fi this litt!i» li.'srt",
Nor fe.>r I I 111- il.iiivnT
Of feeling hi4 iiuart.

OOM qiirit ia the qiiartelt whkfa follows, between
Peruvian girls and Jfyra ; this will not foil to
" by the generality of hearera, as the mo»t
s to dramatic eflect, iu tbanholo opeiO*a

QuAaTBTT, p. 105.

OS.

The maiden wIm would slutaiw

^N'itli bi>iinn light a> air.
Nor ever »cck to number

Long boun of ^rief und eare.
Must bid fareu-ell to luve.

The maiden wlio would «luDiber

With bosom light »s air.
And ple««ures witbuiit number
Jiiii h [niiisine iiiivmrnt share.
Must welcome jentle love.

a 3.

To feel the rrief Ihut treasures
The thouglii* iif jinst liclijht.
To mourn lust hopes and pleasures
With each returninr h^ht, —
Such— such the fruits of lore!

To ffcl the joy fh;it treai irei

Thr t.'uiiit'lits <jf ilplij^lit,
And brciitlies new hopes and pleasures
With each retuminr light, —
Suck— «uch the ^uits of lore I

a a.

There is a cloud will lower

On \ounp lifi iippniuv day*
Still Urixing to u'erpuvrer '
Tiie bsightnest of iu ray,—
Tkat eluud u hapless lore.

Mj/ra.

There is a beam of bri|;hlnes8

Can sorrow chase away.
Can chance the f^loom to' li^htnesi.

The Bight «f jirief to dar.- . i .

That chsenng beam a hm (

In the dilrd eoene we find Faulkland in prison, who
rea-sons musically on death, like another Unmlet, thougit
not exactly with the same degree uf inspiration. WO
recitative and air sung by him in this situation liaTO pmrnm
ful puiisagcs, and eiyoy a just celelirity. Almost inuDcdlate^
follows the beautilul (|ahitett, Fonvdl, yet mttfiir mtett #
comnosilioiiof •▼aiytoiiehliqraB'ciiietivokiM. 8e«M
the iourtb, containing a comic song by PeilV^ haa ba«
judidoualy omitted, to give place at once to liie AmJo, Iho
most strikiiiLj feuturc i f »liiili is tlie admirable mad SOenO
of Hyra, a compoiuiioii ubounding with the most vivid

o teMasie, p. IW.

Digitized by Google

pathos and the motb-tnpMiaiMAiMqnMsion ; ud to

tvhich, both in her Bingiog and aetiag. Miss Paton renders
ample justice The remainder of the finale, descriptive of
tlic disclosure of .Va^fru'« treachery, and the fcsUiruiiori
of huppiiiens Btici joy to al], is iu the highest degree dra-
matic :mJ eticctive, paiticularlyAsfillLflfaMUB of jpj With
which the whole tenniuutes.

Ill concluiiiun, we cuiigralulate tiie metropuliti on having
been Ainii^hed with one of the richest and must pleasing
musical banquets ever piOTided for (he gratification of iU
taste ; and too much praise cannot btt giTen to the pro-

E' Mor of the EngUsh Opera Home m the liberal and
idoua, not to aw eooadentioiu mniMr, in whkb Iw
brought fonraid MMthar ■iHtir>piM» of flw
■diOoL. It will eoutributo in no niMll degree to refine
and cnlt lint tati* tm tamie, wUdi is rapidly cxund
Ib^iliclf nnd gnhitny fitn nglli fat (Us

fmi0 0Mt9l 3Rq!|ort

' ▼JBNNA«

iMptUUMt Tkeoter.—Ov*. thentm hare to boast of but little
avnUf. The most intereslini^ piece produced since the lust
aceOUnt we gsre you, i* Per IHamant lUs (ichtrrk'unrfri, (The
Diamond of the King of the Spiritt.) the subject fruin that
itjextiaustUile mine of precioiig m;«trriul» fur ttie staire, " The
Tbouaand and One Nights." The niu»ic is by Kapelhneitter
The Mbjaef la brought out with all the splendour that
fun w§^^m, ■nd.with all the aid it oould leceive
dm* nw aM aw y . VfrniSm, gmO, «ad Mm glide
» M in npU w^eaafamt and bear the mind amjr In spite
•f llidf, fhiia happfljr eoneealing in the guy nnd bewQilerinr
drdanany of tl^e improbabilities, not to My .-\h-iir Tities, of the
■toiy. But it wag nut the eye slonc that ««s pr it ificJ- -there
was much fur the ear, aod much that was i.r()cj<l .tivl eiT. rtlve,
and well adapted to the eastern character of the tale. Many
of the melodlcii are marked bj gfMt tnMtHMI and finish, and
■afcnl at the oumbiflcd pitMt aHi.ao mtan ycanens of tbe
aalli«r>ddillnMnviNidg»; npon the whoh^. w« ngud it as
oneof ttaniMttncemafiil pieees that has proceeded from ^I.
flAseKs pen. The oterlnM was rapturously applauded, and in
hifrhly charRrlert»tic of the subject. It w is what an overture
ought tu be, a mirror reflectinic into a kvcus the whole of the
pieee. It eudetl with a fugue which was highlv wrmii^ht, and
admirably executed. The game may be taid of all the pieces of
the opera, eupccLally of general »olo pa«&age» of great heautv
for the horn, harp, and violuocetlo. Indeed* on iiMiiiy this
fieea, a feeling of ragrct anwe in oar.alal% '
of what is good and waaliriy ■hanld bo lot apan a
nnd upon poetrf oo- nMaiir nB««l% of bdtaf mdM to

• Ssvemt ofOe psMsefesiatbaaohanorAaBOit

Hod, a> witneii the following :

Botthe cffotl i» quit* ludicrooiwlMju the same impsMiooed notes
le appUeil lo the words of the 0|,cra House traoslalion : " Cnto
the pile they're bound him, Tl.e iclltiering sparks arise." The
imaee eonreyed io this cooplet iboold hava bca lesemd (or the

atiwMni

«;

ikJi

jpopcr I Bendea this, ws bad a new ronwntic piece, entided />er
TeuftUtttim i» Mtdling*!*, from the pen of Kapelhneisler Wea*
zcl MuUcr. There is some good music iu the piece, but t^
puctry is extravagant, sad of itself sufficient to tink the mo^
Liuiiyant mufic in the world. Why will nut couipoacn exert ft
little more proper spirit ? This was fuUuwed by another pieces
eirtitled Ha* Gstpensf a^dee BatUf (the Spectra of the Bb»>
tionX the anisic by K-pIii»«-i«*«- Drechalsr. This is an. eld
pieoa mlvod, yet tiie pnbBa aatMd to enjeyit wilk iB tto
idiihof anord^terrcd ap fir the first time.

Jesepiifibtt 7%fafrr. — Tbe best tUn^ produced here for some
time has been the Ga;ra Ladra, fur tlir h: ncfit of Mud. Hec-
kemnnn. The characters were eabt ai fulluwa : Fabrixio, &f.
Bartholemy ; Lueie, Mad. Asymuod ; Gime.tto, M. Kreiner;
Ninettt, Madame HadunMwn ; Pippo, Mad. Donst; PadttUi,
M. Seipelt i Fenuimde, H. Danst. In al.MpMtl* ai htm
regaidadboifa Oagtn awl oicbMlra. tba optnvaa adadnM^
perforated duoaglMiBt. ToeayoflheBetiag-or MadaaeBiep
kermans that it was effective, would be to say but little ; it was
touchin^f in the highest degree, and called forth loud and ipon-
taneouK bLiri>t« of applauie. In spite of younger talent that
is continually tpringiog up, she remain! nnriralled in tbe union
of rare powers, both of voice and action ; and though yeaiS
will craep on, lier frma stilt flourishes in allita fi^pilblhl slgenr*

BE RUN.

Konigtirhet Theater. — \ plr.isinc piece, new to o<ir stagff,
was recently produced here, entitled Rupkr<mne, translated fraa
the French, the music by Mehul. llie prindpal character waa
admirably supported by Madame Sflkller, and tba >
were well cast. Tbe music ti i
several of the dn aad daata '
is intermingled wifh daneee, vblah gtraitn i
which were admh-ably executed tj HefBe>'Vil<ll»
regt of our corps de ballet.

Sli:iks]'erire'fi tragedy ot" Mnr}>i-lk was produced li»rr, in th*
new version of S. H. Spiker, and with the new music and
overture of Spohr ; but neither seemed to pogiess sufficient
charm of noraity or brilliancy of Invention to justify their subi^
stittttfaaintteplaoeoroldfaToiujtet. The critic ragretted tba
mora aanrana Iranian of SchHlar, and tba aunieal aoialaMr tti
laag*rae(irad and dMine t e iiiti c annie of Rcidiardt. Wo can*
not but pronounce the experiment to be higUy injudicious. A
cutupoier should be very cautious how be comprauiijcs hii repa>
t.iliiiti, by attempting to force a footing upon trrnund which baa
been pre-occupied. The wnsatiun excited by the first prodoe-
tion of Reiehardt's mtuic, in 1801, and particularly the choramoi
of witches, istaofinabintbercuMnbcaneeof tboi
lie. toaUowtfaai

Wliaio happy tusy, t hat U Mbe i^ J fcif a n lH i eaaliaaaaaMaa

and mora firmly to establish itedf ia the ftroor of the pd^lidi:
we angnred as much — genios and original talent an swe to find

their level.

After thia, we had an opera in three acts, from the French of
Scribe, entitled Le Slafon, the music by Auber. This pieeo
is full of spirited and characteristic aire,- among wideb the
beginning Bom nmr U r, wtktfJunn, ilbaeam a gwa U ^
Tourite aauaf m*»

JTsnigifoffielt Jlioirr^-Wa yawla J M i b » aa nowlj
set to the excellent text ef K. r. Boltari and lha A

* Wc shall lake an early •ppoitnasty of |
with this ail anaaged to ha^uh woide.

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fBKTfMarONlCON.

181

■M-«TCr. The use uttj alto be (aid of ObMfoia's find

Borelty at M* theatra has b«en an herole piaae In

tttled DfT alte Ptldherr (The oH CoaraMuMer), feamM«'«
1rflll-k>ir>w;i aneciote «f the cflebratpd Kri«ciii«ko. Thr po<Tn li
{rom the pen of C. t. Hohey, and the music, in p»rt origiitKl
kad partly arnmged. by C. W. Hentiin?. Sfvoml -if ihaaiia,
M««U «a eiMMind pleew, are auvkad by coaNderabie adeat,
Mie af Aa aecoi

ifcyMWWJ Wthli-** pi aaaa a-aaawi j ii g ;^ .
throofh tts BUMliBy'to •Kdi**Mil1rtBBmi

Und are (^meTally eoodemned. In Pmfeaoar Wnefi Mnulm'
U^tke Acailmie, M it ia here fashtombly termad. we had the
oT«rtiirt to Spohr u hrrggtitt\; OMhe's ballad Dtr Brikmug,
«g Mt tomuwc bj F. Sdiubert ; a powerful aod batUtUeknovrn
qmrlett, from Eisenbtifer ; a tmetio froai wWawala rapita
«r U tm% m heMttfig m m f M n , hM aoaolMh Mgiectedof

Irtil -Tt<nwiillil^llii^- iif niiliil •^Goid-

■ii>«lr MiMMbrC.

■pui fMMMMMI «0

known oprra, TMs vcr!(eHtf GUrtnrrmidehem, wUch Waa I*-
ceivfd wUh an enthusiasm but rarely witneMKHj. In awither
ronfert giren hy Maduim' Josephine Schulli, wt irere dcMf hted
^Ih a fritnd tccna mhI air from Meyerbeer'* Margkeritm <tAn-
with a efaorai inl'llellii obli|rmto; a tplendid dnet of
Mm Iii9«r ; • eww t ta'ftr Mw flate ; aad a aariea Of bean-
iUffttrUtod^wwr, admirably perfawad ty a
popD «r tha laaliMion for the Bliad^ «f
j • gnual SMr Ima esprenly
aion by M. Reiiaiiiiper, and mug with great spirit aad
Mailame 5fSlder ; as also a new aong', lun^ by the latne,
the pli't^ant jn»n of ('onrail Krfulzcr, witli an obligato harp
accompaniment, enlitW A'rtn Heiimrfh, f>e. (No pining for
Home). Anotrf a rariety of escelleet church mii<>ic, we had
llma'i Tod Jem (Death of OtDfat). which waa veiy eftetirely
fllfuiim J under the directiea «r KifdhMlMfr.MMr* fo -(he
^ • fofefio dnnty.

NAPLES.

t Clliijiii. M— iiiBtfaMir«p>i%J^awmimimw—t
otf wi«hT<tyaiederataaj fi iWt « ThtOforukdi Napoli men-
lioae lome Ariffiaaff aieilfrf'ta Ae air of Lablache, and alto

^pl';^k^ in termiur cunsiJfr.iblc praitc nf tvru Jm ts. cmc hctvcun
the latter »ingcr ami Tusi, ami anotlicr dftwi-rti hi'r nrnl Diuiii.
A lecond new upera, from the pen of rifllitil, ,i pupil of tlte
Hitlkal Conierratorj', entitled Bianca e Fernando, was per-
fbrmed but ooce, In aftiniim of the ninau of Lablache.
Upon tUa another new opera wat produced, the covpoaitimof
" di, wiled Tosla; but h Bade a eooq^jfaiwah
' apefi» A'PM— Ctorwe 4t Ttmg^ of iriiU I
taM li«lbn ftren yea aooM •eeaatb coaCnaea to attrael vtlh
nearly a* much power b« Uit aeasoo. Vi'q weri.* fru uurcJ with
tin- Slight of a letter fnmi Ilarbaja, in «liic!i l.c wivs, that in
hi» whiilc tiircer I'f uprm luaiiajfement he ncMr l^•it^cs^ell a
an ore tticccs>ful opera, at Icoit, if the te<t ofiuch tucc4r*a can be
ftirly eitimated from the large lumt of mooey paid into the
treasury ; in fifa dajwaa^jr, ten thMuand dticaia wen icoeived.
Beaidet thia. waa glfti (he XUim^tHm af EmiH ia iridch

titled, // Langrmfioldi Tvringia, the maaie by (SagVardi.
ty» opent era* rery favourably receired : the eharaeter itia*
by the Sifoera SeaaiMt Robiai
M avoh, Oaft iaHNl»«nMHpaMA-|i 1

M • wtlval * iMV ftiM*]

lani gave a coaeert. whieh wai attended by all the rank, fciUe^
and taate of the place. It i« said that her htmbaitd M. V«la»
breque ia in treaty for our thtntric:d rnanayfoiei.f, uf which
M. Drouet, the celebrated flutc-plsyer, is at prcarat the in*
(pector>|reMral.

ia aififad hare, and ha& entered npeaani
!t»«lw J — Cm i k,

MILAN.

Demeri, fell (erioiuly iU. ao that the wMe wirigM vf'die Mi

clinmrters fell tu the tut of the Si/fnora Farelli, and the a|p
tAlr.r'iI the arduouii task with catnmon ability. Wc caaseib
br-ti.e-bye, help remarking the confusion that frt',-)iiently arieei
fron the cuatom, now to (reqaent aaraflg ting'ert, of Jtaiimniging
their aanei. In the iartaace before na, tometiines In aa opem
SHMMf, atatkanit ii StgMl*

hifUm hMMBttaabargar. mA
to be ariMBMd bf Ae hannly Owinan patrooyaik

of Dem^rlrL. It is the- sam-^ with rhnmrl, the wife of the t»n*T
O. B. Kubini, which Iijts i^-inlrd intn Cornclli; hut a still morO
Tioleat tortun- is that . f the KnL'Inii liiss. William William^
iato Ougiielino Ouglietmi, and the Gcnuan LeehUetner
lata'Strardiai ; to tbaae my be added a lady of great mntieal
la teglilir'tD'fi^atafai liadanie Beloc, whiek
I' vlWnr»'>Xaldaiib4Hi Unger, aad a S«b»
[* ■HfwwwB-vw ataBBt ^Wd HHi*IV|lM iota 4Mi'

Pacini-; openv wa* foHowal bf ilAiaateffo of WbMr} Mb
owin<r to t)>e comparati*ely weakiaaianer m which the cbsaek
tcri were cast, it did BOt predoce th^ rxpt'Tted impretsto*.
The fact it, that Farelli. Verfcr, and Kemoriai were not of
BuMoient power to contend againrt the too recent reeolleetiem
of a Fetta, a Donielli, and a OaiH, wbote onited ]
an iamtenie effect to thit powerful aMne. The eieeM
ia>Baa i ia la aidB«wioBdaifal h aywiii — lal
j«m«g*. -h (ht pHMit ftataiih Mm |M
ftlt between OnBI and Hwnhj sad tUa fai the la rj — Iw t lf
the piece, in the admirable ati4tu it introdoethm, towMA

Buch cffn-t waa givcti In tl.i^ eitcantic vnici? of tialli, which
teemed as if parpoccly fornjtd for thr Scala, at well at by hie
Imprciaive acting and clear and correct pronounciation, in ail
of which particulara Reroorini failed. Owing to titit, neither
IIWt|bll ifcm aaned, rtor the qnintett in the teeond act, which
at% itMf tba'awit fcwrita f i a c» i ef the opai
MdcflMk bwdta-iBlMaaperathatOdlii
•d Ua eUn «b»MpMallMkaf •fiwiiw ta U t iH' ln '
bafcre waa deM Mb by the Mlkacae csgMaanli.

After thit, recoorae Wa* had to the new opera of CrMuofM^
but after three repreaentationt it was fairly hootpd oif the atafiW.
At last, aa a ilernier rrssort, the < '.imtlla a| I'ai-r was rcTircd,
in which two new aira were introduced by way of C4Mipenta-
tion for fire whole piecea omitted. It ia a curiooa fact, that
whHe the lliiaam <iaam» eaidaeteae weed aboat thia apaw^,
Mda wfOm ttUu bwttf ' b w rwilwd cm» furomt
of the Matter b, that dM«hlt««MihailBd vHh
•U tf» «BUuaiMm which the jooiMli in fHitfiB iMeita. jrrt

9]>S

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H met with t yetj fmvounkble nn pt k u mi If K Ind had
Ibe adrantNfrc of » bettfr hniro, wmild nnthare fniled in per-
manently tccurinf tfa« public fxriHir. llie Si(pion Gfti lunf
Boch better in thif npeni thiin in the Goiu»lro, bat the ap-
ylwiet beitowed on her teemed rather too marked and partial,
mIIo exceed the bound* of di«pauio«ate criticim. In thu
•pamllMMrini apin akon* im li» tnMHgfei^ taA&tmnMy
Ami im Ae fewwiJ wpplwt. A yoMh «f (h* mbm of Ea-
rfe« BoDo^ bekmginir to the dmr of ovr tMmkll, plnaad
■rach hy the beaaty of hit voice and manner.

At laat we were trenti'it n iili iti»t n-lrbratcd npi-ra, wliich hat
wow made the tinir of Kunipe, the Croriato of MpTfrb<«r.
Al Mine of the ariKts uf ilie pre»*ntiea»on were of the nir-dnK-rr"
clat*. the characters were not supported with the effect which
the exeeBenee of the opera demands. The character of At'
m m » 4 » wae ghw to Baasi ; theFrandiai,M»aMM«rofac«a»>
ii^ «iMk tlw pMt of Felieia> and Biendlal AM ofiibifne.-
MtaiMe«rfJMMfeMMtodMlot«rai|mmll«lttHii8t|iMr
CiMIH. IV wlolo aunber of iodhMuala mplejred in this
opera, including choru*. dinrers, orchestra, doulile bands, iic,
amaunt<^d to about three hundrp<l person*. 'I'be rumpoter, who
had come from Berlin ijurpnscly tu Eiiperintend the produrtion
of hi* farourite woric, prenided at the piano, and infused his
qiiril into the whole, ^e must not forget to mention the tplen-
tiiNir of icenerj and decorations with which this piece was pro-
duced ; these fuilj corresponded to the expectntioM excited
ia t>w pvbti* aiad. Tte appfauM b«|Mi « tl* «rMi of
C i lxBfc aal At ndhBir«U]r<«a«cHldl ckaan of 4« 6iat fnale
oailad •f«itnt tumult of apphiM. Tlw nne ma; be nid of
die NMuiee and the quintett of the leeond act, which were
liailed with increasiof entbuaiatm. la a word, in ipite of
jotne diaadrantafet, tlie triumph of the Crociato in .Milan
VU complete. At the end of Ibe first act, the eompoeer was
Mllcd upon to appear, and recetre the testimonj of the ho-
■Hfe of the public so justly due to bis ulcnU ; and Ihia was
fl«^atti at Mm tad ef tiM pieae. wben ha a ppe aw d Mr*
jbmM I7 lha ai«Mai vha hid aU oaaMad AMMlfW i» IMr
jDtaoat to do jaetiee to his coaiposltiiin, and to whom, by hie
pacefiil and aif^ilicant p^esture*, he secnied nnxioai to transfer
jiomall degree of (lir inrrit »r the pirce. The same homafe
was eoatiuued dunn^ ttirrc cs cnin;> ; on the third, at the fall
of the curt«iti the applause nnd xhc rails for the maestro were
fenewed with more vif our than ever ; an iotenral of inapenae
MWad, when a head was aeen from tlM wiaga, and inatantly the
■Miii li^td wilk iaemicd furj; bat It wai MtliajferitatR it was
flwhoMitBtaKe mmmga nMUi ml oaanrlM teii who ex-
daimedina iteatatiaii Toiee^ H Ifceetre mtm fmt ft mi iU a n i,
ftrcke t pattlU*. The aalwrt affliii axplaaatiaa wae met
withabufrtaf kaghlar, wUah AaakttaBaalatalia laweat
foundation*.

The opera had an unintenitpled ran of abore twenty nights,
aod neveral of the piece* were reirularly encored, particularly the
cli triT.iii^ chunia Xtl tiU»Mi», the romancCt and the quintett
a'heBwi, who itt tha ehaiacter rf Jimniit wm again in her

limiBf, aa bf ler animated style of aetinf ; this lady, as well
m Sigaor CriteHJ, with bis large and snstnined song (canto
largo e tpianato), traniportcd us biirk to tlic days df thr triumph
of the art of song. Strange nt it may appear, coDsideriag liia age,
for be is said to !« now in his sixty-fifih year, his beauiilul voice
appears to increase in strengtli, fulnes*, and roiumc. Though
the MelAs cannot he said to be as yet a sufliriendy finished
ftima donna for the Scala, and Diondioi is not a bass of the

* The JTaraCr* caaaot make hi* appeannca, for he is (one.

&^ qnalitf . yet fa Aa eeriilaed ptsoH (hif wan vary eieetiTv.

The orcbeslm, under the able conduct of RoUa, deserves every
praise fur the correct and fiiiivht'd lu^inner In which they per^
formed the whole of thii roinpuiition— a uiiuic by no means easj
to execute, so as to give it all its delicate shade*. TlMNigh seve-
ral of the critic* of thia city have pronounced it at their opiaia^'
that tlie prtient open ia, npen the whole, aot luperiac la Af
other worlu wbidi tliii eompoeer produced oa tlie Sod^ ■amilj
hi* dfatytooMa tJujimt aad^M' M.fimmmia, jwt It ia «p
undeoUlatraA, Aat Aa CVaelaia laa aiada a iplaiidid epoch
in Milan. In the latter day* of the representation, Uie enthu-
siasm was quite as virid as in the early days of its appearance ;
the haaae was always crowded, as well with foreigners a» m th
the inhahttanta uf the city. It wa« intended to have pnxluced
a new opera by Vaecaj, but the run of tlie Croeiato wm aa
oomplete, as to cause it to be deferred till next aeaaoa.

SifBor Frederic!, pw/emer of counterpoint la mu Oaiipiift* -
lociei, hMoMaiaedAeaiAatietiliaUlqr AalalaOMiafv, Aak>
brofloMiaoJa. It may b« nmaritod. Aat fa Aa Ilafiu Mi^
caJ Conservatories there is a particular profenor of counter*
point (gramoiar), and another of composition (rhetoric and es-
thetics) ; the latter is termed 1/ Censerr, because be has the
superintendence of the morals as well aa the musical progres*
of the pupil*. Tlie Scala ha* recently had a serioua hai hi the
uttger Coiembelli ; she poeieaied considerable powers of TClen
and wa« aot deficient in f race aad force tif actioa. The jmnf
and rery deterving artist, J. Weolbaaih lAahaa mada aiapM
progress in his profession, gave aa ^eeidemja JfwfeaCr la Aa
Scala, whirh was very liberally patronited. Upon the uewly
invented instrument, called the PaMMJ^Nt he performed lereraji
pieces, and among oAaim a Palacw^ wiA nriatiaaib af Ms
own compoaition.

Several engagMiaMa hatw laMr baea aada tarn Ah AtMn

to the Bnuil*.

A vaport ha* gained ground here, that Roaaini i* now engagej
taneeaiBpeilaf «ha/<l>Bis Gseaaaaf; it it atca tai4 ^ hi
baa wiiMan a leMar to hh IHeada la BokfDa. la vUeh ha plqaai

himself on baring been paiticuUrly sacceetful in the duet, Lm
ci dmrem la mano. But a gentleman, recently arrived here
from Paris, who was intimate with Ruisini, liad never lieard
a Word uf this singular story, and it was very properly *ll*«
pecUd tu be a hoax played otf by soM UkCSWltfhalaatUar
better ia which to employ their tine.

TEHICB.

Aftku the fall uf Merradantf i* now upcr^, Froilr. wliuli %ra»
said to hare hern nothincf else than an oM i>|M'ra uf cntUlcd
Marianna, dressed up in a little differeiit t^)rm, «ss Kiven
Roasini's OteUo. Thia wu followed by a new opera hy C4trafa.
La Paria, wMah waa twatld most unccrr iii»niou»1y, notbeiag
allwrnd atan a neaad repreieotatlon. The joaraali attrAat*
thbdfatnMiaglUlaialolheAaller Aa riagen^ to eabah, la
an ni-contrircd dhftiibalion of the part* ; bat Aoteaiaii bi hM
the curtain *ay Aat Ab composer, posseased ef ao ijfreat ibndi
of senilis upun whirh to draw at pleasure, has fairly written him-
self down. At latt was given a new opera from the pen of
Mercad.inte, entitled La Donna Caritea. TW.» r. imposition
excitc<l a farort, far surpassing that of the Semiramidr,
and even of the Crociato itaelf. Letten we have seen friMn
UilaOf for the eorrectneu of the accouate conuined in whkh
w« caanat bwratra r vaaeh, decfaife that Lm Dommm CmrUem
had tu boast of not les* than twelve different chuakai piceia»
marked by great originality of atyle ; and that by bar adarir^
.ii>!e execution iaAca^ tha liaoMli had added fimh. haoaan
to her name.

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THE HARMONICOK.

189

ROMB.

Tttttro Tarrfi'iWMa.— Thr princip«Iu*i(irf«BriM«ipMiyfc««

■re prima tl«nnm, Cwlotu ("avclli ; toprsiM. RowlfaHnl;
Uttarf, Antonio OrUndini, Oirolimo C«TelH. mA Lueiuo
Mariiini ; btuto, Filii-pii Ferrari. The piece* siwn, wcrf R.h-
»ini s Semiramifir, and NieoHal't mtW Annibatr in

Jiititiia,

Jtmtf ydUn—Vnai^ unfen ; frima donnm, Vi rylni*
Bhwit i Umrt, ftalwin Ptacenti ; teno cantaiUtt Olmppe
jrionfu^, tem mh^m^ Nkoh DeGrMsk. Th«op«Mptr-
ftmad wvM. £• f H wwfc /MMMvii VaMj, and tha

Spota feiUU of PacinL Neilker of theae wore wry faTOBnbljr
nttntA, tbough the enHiMt of tlw dafcn, mmI particularly
-tiwBbaU andDi Gndib ««■ iXia higlMifcdtffN* praiae-
«orthf.

- Madame Catalanl tpift a tenet of cunctri^ licrp, whidi were
#11 the rafe« One of the jouroals tpeaking; uf tliit aingor, infurms
Ma iwdenthat »be mu born in the proriace of Uibino e Peaaro,
jOlt MM wiiiah cm bktk «a lUaiiai, GNaMBtW. and Peltarioi
OtMHW «• fha tuMHM bUb ia Vt|M^ MM Bjr way
of Kirlnr dimity to tin aabjacW Oe joHrml goM «■ to ' '
M thai it it alao the nafal laiid«r»
I*

rALBRIHI.

Tm open* KifCB- ken dnrinr the candeal, wh« It«aaiiii's

Jf Bmt*\trt, Tanertdl, and Zelmirti, Mercadantt'a Btita e
CUudie, and i>>oizetti't older opera ZmraMe d« Qnnadv,
whirli h.id been newly arr»nped and rvtoiirJicd by that mas-
ter. Tl»e whole tif lliese pleased. The Si;,'iiora Fcron was
here iuinc time, but the Sicilian climate did nut ag^rrc with
ker, and the lefl ui fur Naples. Paf^aaiiii it ttill with ui,
'•■d kat {iren ope or two concertlh iridck, in t^e of the
— Bftiafta of .thia aiinordinary; man, wen ky M omaa well
XlimjaJ.- Tka Art k tkat the tette Iter coaeeHHuie feee-
'tally naiM A % nrf few ebb in Palernui.

TURIN.

Tealro Rr'gio. — Amano the linfen riiiof rapidly here into
fiTOur it the Si|^arm Annetta Cardani, a linger of rery pleating
penon, and conaiderable powert of foiee. When the Lalaode
lalalijr pmantad tnm pcrfDtndnf IkiMfk kidiapotition,
«ke hanadlkapartflf Petdeuxw im dw azInaiCnarily thort
apiice of twd.dajn^fBd abtained gmtapiilHiatky her eorrect
and spirited manner. A Heir «pem waa prodiMd here thii tea-
ton, entitled Bianca Hi Mettiaa, from the pen of Vaccaj, wliirh
obtAincd coniiderable surorss; Arcurdin; tu the Gatsetta I'ie-
moiUrsr, the two .lirs ni til'' ti'imr, the opcning^ air of the prima
</0(ina, and a duel, wrrc the favourite piece* in the Ant act ;
In the terondt a duet and a quintclt. The Lnlande and Signur
llari «htaia«d.(raat «ppUaaik and Ika «pen k likcl/ to kiiTe
ran.

\ Tealro StUr«. — Principal »inferi : Maddalena Giorf i, pnau
ifeNHtr, Oiuteppc Crcspi, ttnor, Giui. Corhetta, bauo eomiro,
n.iffu' llc r.\rc«no, katto eantantc. The si-ason opcnnl « :t)i
R«<-:ifii » Jialianain Al fieri, which pleased much, .\flcrwards
Wai ifiieii a new opera, L' Acijuiila jur rairi^iro, the muiic
by (jirlo Salri{ini. Tliin opera, which contains several airi,
M well M combined piece*, of no common thanutfr, was re-
ared with /arere, and darinf thn tkne Ciat avennga tha com*
fmer vaa called npaa At •rai«|>t tt« Mag of Ikn cnrtain, to
faeeivn tke eoaKratiilatlDM of the pabiic. Stf nor Salrioni i« a
aatire of MHan ; his adrance in the knowledjre and practice of
muiiic has been rapid and ineritorinuii. Some (e»i- ri'iirs since
ke filled the huoiblc liluatiun of a choriiter on the j&'co'a, front

which ka raoe to be director of the chorus in the tame tli(>atre.
Fur n lanf time he was also a copier of music, and h I mI this
■miiaa Mdf^r Ike gaaat Winter, Cmm enjoying whute tuciety
andwntcUar kbtBMiplibkndaiibtlaatcaiichtaomeportM^
the koowiedge aal tart Imt Mrt pwiri a n kj pMck kn la ao^

distinruithed. ' • •

^ BOLOGNA.

Teatro Arila Communf.—Tm principa] artitta ^ftmtX
are: prima '/'j""f', Faiiny Aitcn; /cwore. Rugginn Fl
new to our ttHp;e ; itjido tcnore, Mitliele Clavara ; hmtto, F^na*
ceaoo Lombardi. The «e»*i>n opened with the Clolilde of
C!ae«ia» IB opera which, in all iU parte, beepeakt the hand of a
mMMr J tkit was followed by tkt Ocfeife yiOan* of IVento.
Mist AftaB pleaHd nuMhlB tVa njpan. aad tha FamnU gif«f
utbopwaf kirh aeaadH — nrtwrta>wdln»ahti^&r>e-

FERMO.

A SlONomA CLBMOiTniAFAItTi. a pupil nf tlu-> Miisiral C»n.-

sereatory at Bolofna, mmla her (ir*t appearand- here in Ro«i»
nfa Tnren im lUdia. fiveiy allowance made for the maidc« .
iewra «r tka joatUnldahatoBle. aha wa afmind to i

VMA.

Tub season hire npencd wilh a n(-\r oper*, entitled Fnrico IV .
ai patM Hrila Mama. tlkC music by a you»f aspirant to fame,
named Giuseppe Masrajrnini, of the Accademia FilanMden iB ■
BalflfBa. Itartwith a very favourahtereccfitiMi.

PIACENZA.

A IIllb. Fish an appeared here in Rossini's TMefwtlT, aad
wnaiaoeifadwitkfnntapflaMaj karniaala «f * '

schtKd. The

her enirai^emento at a variety af oMer Osnlms. Milam Vl*^

rence, n>>li>j^na, and Parma are iu hear her in (iicmsMB ; aad
after ttu>t Barceioika and Lisbon an to claiu ber in their tnmis •

cnifOA.

Thr opera tluil h.-ii; been the ^rcat attraction nf this season is
the Crocialo of Meyerbeer. It was very respectably cast, and
the hd isr w ,1^ hilt-ii erery nl^'ht alnio»t to suffocation. It is tof~
be contiDued next season, with the additional attraction of Basaw.
Crivelli. and the Melat to III Oai' " '

aMfllaiiR ainadljr algoed.

PAiin.

Mllr. SoNTAG has appeared at the Thciitrf ItrtUen, in La
Cenermtola ; but, with all the adranta|^rs possessed by such
a tipger, the CMild not efface from our recollection the charming
iB wkick Mile. MooiiaUi filled tka priadpnl part in thia

The Mmtrimomh Sttrttt has been p e rformed, but with rerf

mediocre effect The RtuiniHi say that it has alreadf
in'iuntril the ptrruifur. Mile. Sontajf as Carolina was not
>ery snceestful. lo tlio fin.t duet, Cam, which breathes s4>
much tenderness, we reyretted that lier Ftyle was so overcharjed
with ornament: for surely this is a piece that demands a nuble
simplicity of manner. She introduced int4> the opera an air
(nm Hoaurra Figan, in which aha ditpUjred all the rie hn e a a
aai laKiki% flf kir fiBe.orfaB. Tka rtknr chanrtmaM*
fiUed by Berdogni, ZMheOi. and OalB.

A new society hat been itimed at Oenera, wUek at laart
u ii; nut be likelv to endiUlger the harmony that sbuiil.l r-'ica
in ail sUles. 'I'he rc^uJaliaBa 9n signed by H. Constant,

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184

THE HARMONICON.

Prendent of thf Tiilcral SDcietifs of Mu»ic. [DoobU«i this
ini»tbr R nxKiml society ]

A maiical lotr^e iui be«n jpTcn bf tiie MM. Hemaim of
Manich, foar brotttnt, two of whom are perfonnen on tJte
«Mil^ tad «ko MiMr ta«m«N viaUaad vialwHiioi. b*
fHrtill of BMdtovMt Iht want of fiperiaiilj'h 1k$ 4nk
^oKnvwutnmlr fiU b j a immhtr af aumtm of Aawfaca
atyfe, »ad fhe Mbef altogether wat my heary. TV broAen
then sansf serpnil pieces fur f mr vnices wilhuut acrnmpsDlment,
And were grcstly nj);)lau'Jeii fur the nccuracy of their execution,
and the perfection uf their intonation. Mile. Snnta^E; exeeiiled
mn air niuot charming^ly, which, to tnj the tnitk^ bnka
monotun)- of a concert that, withoot to agfraarillaaiiaMMn^
•mid hftva bmn theaght womwhtt tMam,
"A«aMrlM«nvnwaMioa«r«a Oaiwaa rfa^CMfart-tta
Onnd Theatn atManlB*
atroofljr manifeitad at 0w pw<iiBiaamaf At
Mtct which is introduceiJ into tUt «fW|'lia'aMlBMaf the
Balltnigti was oo ■aoocr diaoerwed thM |IWJip|lHMI AtB aH

• ki^rliBa.

• ^OarliMdajl Ae Tth ot Axigmt, Mile. Sontaf took her leave
of Bi. Ha gpaia ckom fior lUa aeeaiioa waa Lm J>mmm M
Jya^wWAiiaayeilkMrta^rfAiaJlMlalUiyalafcMB

tt^iaaaM^llafljAivaa frooi

I All ^TipMt Afll^afrie-

ffature.

After an absenre <if msiiy iriotitlii, Madame Pasta ii restored
te the Pahiian aninteurs ; hut her stay will be for only a rerj
ttine, ai the is lo apticar at Naples in tiie mciitii of Octo-
l» aanliaiia to tkat city till neztapfiag. The dOet-
h mk u mm ta fcaia Jaitiy eppaehttd tUt eeleterated
her dmaallc taleat codd aat Imt be ««■ uiito ita ed !■
IkeiMnitrf that prodnced Shakspeare; aad it bai been niaaitind

tbat ever aince her fir«t visit hi London, her kno«ild|ga af dra-
matic effect has received a gf^reat aapnentation.

The competitions fur the prixMi for the VioUo and Violon-
cello, took p^aee at the Conservatoire de Mmwpie on die 7th
tmi 9th of Aogual^ when M. Curilloo, a pui^or Ifr. Habeveek,
•«d M. BecyiBf^ a pupil af -M. Kiaataer, «aia a^adged to
««lda the reward betveeiiaeai. ThepizeArthe VUacelio
In* gtvea t» |l. Dejaiet, pnpil of M. Ncrtlift.

amsteboaM.

Im AaawJMsneiU has beeapainaHd with TaatnwoeM at the
VHUt U. Alwls CMimt, mmngm, iMiliMwM Ifcwplf to
fto clawaelar af jS^lv. > did hb viTa la Iha part af Aiaiy f

fad Mile. Domn reccired abundance af^^pplNia tekvpeiv
fitnPMce of the chaiactcr of 4daM«.

XOBKSBIKB AMATEUR JIEBTIMU.

Wf noticed the Sixteenth Anni»er»iiry- nf the amatenrg of tUs
eouDly. on whicli occniiiun the new Minit:-h:i"! !»t Sheffield was
opi'iipH, in n::r Viilnme for 1884, p. 157, unil the ' Serenteenth,
held at Leedi, in that for 18S5, p. 131, when »t cnald not but
contraat the taste and judgnent exhibited in the selection with
the fiMUoaahle private coBccrt^ peifmned bj prafcatoia ia the
■Ninpiik. l%a-al|jiteca«fa aaidmiaff wai baH la ntathm
aftTaili; an <fce ttdi aadMbar My kit, baTiag been poet,
paaal flam'tiH alual tlaie ta Jaae m acconnt of the elections.
paUie attention was consirlerably directed toward* it, on
kef Ua beiiif held fur the first time in the Festiral Con'

cert Room, which was graced by aeplendid d!«play of beauty and
faihiun : abore lOnO peranni lieing- present On the first day, and
1 100 on the ee c ead d»j. AJtiuHigh the poetpofMasent deprived
the meetiaf laCtaaaa of ila aieat eeostant attendants, the beat
rlMna«auMaaea* andaoaiplate^ uuiiitiiyi

If apinida of fair timb;
ly-«a feanteiMMt af mM pea i ad etlieieatlf

Hreatto Impair their effect, aHhoog^h it was nat perceptible ta
die ifteea, and scarcely so in the iaatnimental pieces. Nothing^
will probably correct this bvt lengthening- the njorn, of which
W9 are sorry to Icani tint there i< no inunediate prospect ; and
«»are also |i i e i« d >e ind that an entrance to it threaf h lha
fHat Aeii rtly wibaa beea de a leJ , eoatnuy W tta^iihaa C
i«aM of Ha pnpiietaii. aad Ifaaae too ef b||k mk, aa *e pkft
ttmaliba^igfslidlr-War uatdaa* frntftftAltm
ilfaa Aat Itli let ta tAwanl jaggleii^^MhihrfMs, SaMi

nte feilowiag are progranM of the perftraiance^ which

FIBST DAT.
Paav Viaa*.

Oiaad Simpboay (laP) Op. St . . . .
Glee, (4 reieca, doable chew) "LAapa k aeva"

Overture (in B flat) . . ' . • . - .
Soar, " Softly aighi '* rOer FrttuMUQ

Aria, ft'iolorrrrUD Ohbtigoto) . . • . >

Chorus, " uti enther each flower" (MmUMmrim^}
Oirenure, " L-Akaldede k Vena"

Cbeny Wpe"
Marek e Coio, ^rialBSMsw**

Pakt SacoMS.

Giaad ^I^^^^^^^Ql^^p^

Speibftb.
Ilomnal.

Weber.
PaeiieHo.

Biabof.

Oastew.

da.

SpofTorth.

, Roiaini.

Moiaa.

Caltcoti.
Buieldieu.
Callcott.
Biibop.

Trio, " Che vi par " (Lt KaMmt ii DtHmj

Urertura, (Coryantbe) . ■

GVe«, (4 Toicei) " Mr rtrar Mlrtress"
CJsvaiina, "EleD.;" (La P o nrtn dtt-LmgtJ

Gnod Cboiui, '* Glory, pcaiae!"

.SECOND DAT.

Paar Fanor.

Grand Symphony (Eioica) Op. M ,
CIcc, (4 voice-)' ' In the lonen vak**

Overture, (La Dame UlanekO •
9onf, " Aagclof Ufe'
Give and Cboraa, T'
Overture, (jMSODiia)

Aria, " BaUi, baui " (TioionrM) OUHgaU)
Gka, (4 vokes, doable choir) " PeaceTuI slnabefiaf"
kMadMaae>aOaiaf f^ o«Naa<M £<t^j

Past Sbcomb.
Gand Synphoay (0 Minor) . . * •
Sooc, "FrieBdorUMBtave" . ■• .

Overture (in C) . . •

Sonir. "Gentle aim" fritlonftUo OfthUgato)
Ck^-, (4 Toic«>) " Virtue, my Eaian" •
Overture, (Dtr FrnKkult) • • •

Duel, " Muiic, Hope, Mirth" . . • •
Soni;, "Chra adoraia" ....
t>>ionation Anthem, "ttAA the Priest** • .

These splendid eelectkoi were perfiomed. especially that of
tta atcaad day. with a dafma af apMt <
IhatedllablgfeMtflMditaa tha band^-airi aal
Dr. Oanii%fc uka wai. na aaaal. aa^fli**' ^ of Oa BMfl

Beethoven.

, HaadeL
Atlwood.
Weber.

We hove' beard that the Dnke ofD. and LordM. bare both
a wish to giro up tlteir diarei in this noble bulldin; to
the four inflwariesj thas plaeing the eaito of eeoaa ead rr the sa—
control. A Mbk jpatpioa, if VPim, be* aa npiii i
mnsic.

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HABUOMIOOSr.

IBB

•ficknt of the MMtean; •■dthUaecuMef of perfonnanceU
■MR tMBarkablc. when it i» eonndend Uwt Uw oompoaent parts
^ttt Inl vere not so regfukrljr diflhi ai.if the/ reuiled all in
m fr-\ **"* **"r *— ' «^ ■-' "^'i'
PMnoiiflwMandijBcniiaf. BatttMMlnF.VM aotwrf
iftctire. Iliiauneri orerture, the fint «f lib cooporitioM of
ftia cImi that ve have heard, irai very phnlnff. OimIow** rerjr
original and tpiritcd une, first perfornifd at the I*liiHiarriinri:c in
Mar, 1S25. highly ,<rattAcd as ; but did not i>l)tain all the praise
wa think it dnerred. Spontini'l Koui-mfrhat prrscnted niidiint:
ramriuible ; but Weber's Euryanthr im rra^, at it does evei/
tinek ii pbjred, in oar estinutiun : thrro it a pUHft in k Ar i
ItnliiMini. wki^ foNiblj.nai»li lu of Handail.
^ ntliMvte syBphoBj of Boo ft orwi o|MMd A*
UM, aad was periiapo Bcm IbteBcd to nidi gnaiMr
BatwiOMiUBding iu unraasonablo leofth. Po t woto fhe poMM In
ha affectiof Mareia funrirf, not a whisper was to be heard. It
is not to be denied, huwefer, that the g'ayer measure of La Ihimr
Itiauche elicited more audibl>j and vi-iblc tymptuDis of approba-
Spuhr't JtuoHila produced no great effect ; it is too hard
rt'a delicioiu STinpboajin G minor was charminglj
»«l«w£caihavar«atirOmtiiniaC. ThattoJDer
I Uttw iMribwd at tto Foitbd. ud would
( feMB eixofed but for the htenete of the hour. The respec*
Art OTertttres of Humaiel, Boieldieu, and Spontini were, we
believe, ptrformcd fur llic finil tiulo iu lliis cu^;iltr_v. Tlio nilly
reiaainiD5 instruuicatul piece was an Aria fur llie \iidonccllo, a
titily beautiful and skilful performanec by a younp aiiLitPur tVom
near Knaretbortmgb, a pupil of I^odley, whoee tunc and manner
MM more nearly approwhed than bj any other prrfonnrr n e
•IK bnni* ftntriiinmil, or otIwnriM* U gm uniferul mmI

and

fUif poifewM T, Mm Fuibt. s natire of tint cmnrtf , loatalned

the principal sopranu part in a manner which evinc»l great ira-
prorement since the Festival. Her sonfj from the Frlesch'iitz
(accompanied by Mr. Knaptori on tlic |.Hanu-lor(p', in ivhitli she
had enjoyed the instructiDn uf Weber hiinsclf, and Itolli, liatti,
oeccBy B i ed on the rioloocello, were most effective ; and in all
her pieces, mbo of whidi were eoeorcd, ibi was reeeived with
flatterinf B|iflwao. Her phyaicml powen are of the first order,
and when Dottepnii*dia(ii*«i«f1im«r Atebjrtiaidi^, wo
fully antidpate llMt abe wlltate • ligli taA In «• pnifMon.
Webbe's fine old song, with a bknd aeeompaniment (and
not oae for the piano merely, as at the Festival), ivau charm im^ly
sunfphy a much esteemed amateur, and enciired. Oenlle Airt,
by the same |;entlemaii, accoinpauied by the perfurnicr before
ntentioned on the Tioloncello. was incootcistably the finest ama-
teur effiart we erer had the pleasure uf witnetsiogf ; and, ex-
cept in Vaufhan and Uodley, we know not absolutely where to
look far IliOfiiL It.wisaliooiManil.. dagtt(/.l^a,hjihe
■M'aai FWMNl^ao Aw, fcy ■■iftir wMnhc
aseompiiniinenta from-Calkutt's leore^ won bodi mf wMh tiM i
ftelm^ and spirit. The eooeerted pieces varied of. eonne b
their execution, but on the whole vrere hiehly erpditable to the
jaerfunncn. Sard's favourite old trio pleased much, and Ulote,
geniU g*lr*, with a select rfiorns, was rapturiiusly encored.
Q%e concludinir chomsats^of each day were exceedingly well
done i the sulo parts, la IhMaf HonK^ Mif Hrilined by ama-

^^l>lMf>yit|f of ^ld«M ■ttdiwn

of the audiencel^ m

fill of the series.

.Measures hare already been concerted for the next mectinf,
which i« to taka placo at ShdBald. mleai tko lonir*'*'''!'*' ^
jnssioB of B« oiiMr <te «M>"iMi4 torn dhoidd to Mcoi^
pHthad fai tto Bcra dme. Hw ensuing^ year ia tin proper pe-
riod for ita ttttroduetlaa ; and whilst a concert-room, Bke ttooa
jnusessed by Sheffield, Leeds, and York, is still a dpRidemtum
nt Hull, the Kreatc&t dc«irc exists, un the part uf the amateur^
to pay it a visit ; and they would, un that occaiiuo, muster wHfc
all their farce, and lend every asaittuKe in their power.

. BDUIIKOaAM MUSICAL FESTIVAL.

Tk* Oniid Mttlcal FealinI for tho tonefit of tto Oenml
nMiFiH«n Mk* |iMtflallwarfL«K5lli,'i^«it«f aa*

memthf-MlVliB fHUmoU t of tiM Klllf, Mii • taf Itlkof dii*

ti n i^uithM MMenen and OentlamcB.

The principal Vocal Pcrfonners* at present engnped, are
Madame CajadCTvi, Mis.s StepKens, Miss Paton. Min Travit ;
Mewrt. Brabam, Vauphan, Bellamy, Knyvett, Phillips, J. El-
liott, Ooulden, Brans, Wball, Signori Curiuni, De Bei^nis, &c.

The Choral Department will be on the same scale nt at tho
last PesdTal, and beinf aidod bj tbo Binninghaoi Ohont
Society, (wbfch. htm rmiHH fiMtiwi too tiood rt m Idgi
defreoof pwfertkin.) freater ptecisioB andtar oflnlMJ bt
expected than at any precetfioj? meelinif.

The numerical etrrnfrth uf the Instrumental Btini wB bC
nearly the same as at the last FeatiTal. It coaipiliNltl
proportion ofttt IMal
instmracnts.

The Leaders arc Messrs. Crarner, Kieiewelter, and Do
Beriot. The Concerto Player* — Mr. J. B. Cnuuer, on thO
Piano-Forte ; Mons. De Beriot and Mr. Kkaewelter, on tho
Violin i Mr.Liadl49.a»iiw V1olnM>lhi and Mr. NicholaM^
on tto FInto. Gtadnckor, Mr. Onatorex (who will preaido at
the Orgfan and Piano-forte) ; hit Assistant, Mr. Munden.

The Performances commence on TrEsnAr tlorninf,
Oci'.ber 3, ;it Sr. Philip's Church, with a Full Githcdral
Service to b« chantcil by the Rer. R. Clifton, M. A., Ilector of
Su Nicholas, Woreexter. The Sermou will bo.pmdied by tho
Bishop of Uchicld and Coventry. In the coune of the Mrruff
will be iotrtMiuced Uotannak <e the Son of David, by GibbMNLf
tba 2V JDOMfli of Poraallf Ui* JmUtaU oC Cioft; and s«bo
finwHo ABtto ih Tto wMo voaal bodjr trill to ompkgred
in the aar«iM> aidod bf the IVombones.

On I^BBiiBODAT Mominf, a Grand Selectioo of Sacred
Musie, in the course of wliich will be introduced a nC 't .S u i t J
Drama, the music from Joiepk, (he celebrated composicion uf
M^ul ; and a seleetion from the irreat work of Graun, the Tod
JttM, lite perfcmHuwo will commence with the OecrUtra pt
Bttker, newly amnffod, for the purpose of introducing, thf
variou IViad ImtwiMrti, A will alo* aonpriae porlkpi| of
ltoileTM<Mi«fMomt{fto4VMMba/ nonfafWnf^j uit^
lation ; the criebfated soeno ftooi J^ktkni a TariOy o«%.

' * The Commidee of Management were anxious to proeoiv lb*
osiislance of Maiiamr Pasta, and rttf-ctcd a copditiunal vn^rn^iueiiit
wilb her. We aiv, however, auitiorixcd to stMe that • letter w^
teoe ivad from h«i oa tba SStb of Augo*l„in wUab|S^ anoo%fap
the impossibility of her appearing at the fcetival. me bad eno>
creJed in obtaining permiuloo bom the French MMsier to eom^
plctc the rn^gi^ment, bnl ii appears that the liatiaaOpan fai Paiia
is so deslitule of iaadioff tateot, that iuilet> n Prima Donna coi^d
be ptOcaiad Va lake Madame Pasta'scharacirrs duim^; lit i uliwnoi^
tho ihsalra nnat b* closed. No such paitonincrbcuig vithio reacl^

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186

TUB HARMONIOON.

aartai pheat from Haadcl, BwilioTea, Lm^
wHk frvaorita wr* bjr th« principal liman.

Ob TavMiMV Ifantaf , tlw Bmni Ontario of tha
[M nM k, <• *4>l<k »* anugaaMala an aaqpaaialy sMtia to
^blrodiBca die wind fmtnumiila into Mme pairta of lha eampeil*
,lioa ; and in others. Muzart't arrom|>.iniment* vill be uwd.

On F«ir>*v .\[iirninsf, a Hraml Sflertion, in wliirh will Ue
Introducptl, with in<-ri'i»»i(l fITti t. T'c- TriumjiH nf C.-hnn. ris
performed for llie Ant time at the last in<>eting ; Ihe Seatom
of Haydn ; a Selection frun Juilat Maeeaheut, in tcreral parte
•f which all the wind iutitrumi'ntt will be eoiployed ; a Grand
Gbonis, newly arranged ,- Glory to God, and an HaBtlt^ak,
from Muzart ; Cborutae* by Haydn, MMsalla^fw.;' Lather'i
-Hynin; Airt by the prittdpal vucal perfimMiit be., andcun-
cluilini; with Co'l tare the King, froni the Cornnation Aathaai.

On 'I'uKtDAv, U'KiiNR»DAr, and Fmioat Eveniiif^ Gtand
Miiicc-llancKuii I'l.inff'rls ; and on ThOMIMT EfBOlaf aOrCH
liall, will Uo t^it en at the I'hkatrb.

Mi» Majesty has a^ain very i^raciuuil/ pemilted tha Koytl
^:H«aarboU Bud to lend their auiitanca. !

/u aamnoDf a Btt of peHannancea in wt\jeh la compriied
.a .gfaater portiaa af M«dt/ thm haa baas pfodiiccd at any
;fannar meetinir ; ud tnictinf that diaBMiitdifleBkcainpi.i<iiti(>ni
.caniiut fail t.i lie rxfriitnl by mch a binrl with the utiuust prc-
/cWiou and etfcct, the cuiiiinittee of iii.in;t^'eiDent expmi a hope
that the eniuing festival will pnivL- one of the aoat |arfect
inuucal pcrfonnancea ever ^iven in ihii rnuntrjr.
. A Committee ha* been appointeii t.i tiiperintCMl the Letting;
. at Lodfinf* ; am|ile aeoommodatiaa hu thua baan pioridad fur
TUtata on nwdcnte lenni. Tha RaglaMr ii
lOataUaOCea.

at the

i)n Saturday, the Ulh af *• ^ peffcnw*" the

teason t.H-k pliu-e In thl« tiiettre: three or few fltoK nlfhts.
wrrc a-ir, to ciMnpli'te the full numlifr Hub^cribed for, and which,
doubtlc**, Mr. Ebers will be called upon to give some account
•f, and to lefund a proportionate part of the sum* paid by the
- inhaarfhen, bookiellen. kc ¥nm the moment that Madame
TMIltaakher leaTC. the theatre wa4 dnerted by nearly every-
ladr, ant tha tbnpun and anMy paopla: Sifimr Velluti
aaof toaTaaelp«arir»4Hd4«iaii^ianda; Iht*iiton7.he
drew money emgh to par for I^MNT ^ ^o"" t ^ ^
morbid ta»t« of iome down people of laahton dil not aptaad Ma
•-WOlafkNi to the ntbert who have ean to bear with ; and the
mriH of the Utuieo arc now very correctly appreciated by
'manobwon and amatenr*, of all ranks and dei^ree*-

In one of thoaa extraaicl/ absurd chit-chat articles, as they
«K caibid, vhkh aaanior PM*'' °^ highest respectability,
laBMllBii aafliHB vaaj ■HwaaaataUf to cncp into iu columns,
it mi lalalf atatall that aveiilBr pnrion to Signor VcUuti *
departan. at awqraf Oa nobility aa •trathaa la tawaealled
«tht*doarto "parthcirmpccts." anltoMtohhataretam
aext season, protuUin^bim to put three tho stand faiaaaatato
hia pocket by means of a few private subscription conceit*.
7T»a Joan BuU< aJludei to thin in ;i few puncrriilly sarcastic
1!ne«, and ingeniawlj combines with lis notice of the report,
the praaaat dhlfOHTl of our niKiiHiVtiircra. There ii not,
kmraeart «W a*a faila panuade^ one word of tenth in the a Aur,
' iawBBiliafc Mtoaaay alhuii feaai tha

trntt, and of a ahnllar deaeriptioa, might be accounted fur in
an eaa J, aaunlaf ntaaacr. Tkt rvj aaoia article atated. that
Curioni ii cafaged for thraeaMiatka toring at OaltaUaa Opam
iaParia. Thla la ahant aa aafftet aa tha olheri Ouiad «nt
be la Loodmi agafai la a Ibitoight, whence he win proceed la
Binninifhain, Liverpool, Itc., bariosf nutliins^ whatever to do tm
t]ie French capil^il, and intending to remain iu England till the
arrnngenu iili for the r,L-\i season are made.

Bnt runccming the abrupt abottin^-np uf this theatre, tho
fact it, that it waa the eollcetor of King's taxes who closed the
doors nf the heuae and the mouth of Velluti at tha aaaM
mcjmant. Thia activity af the taxing ma» haa thrava a taiB>
porarjr fai am lha mal atala af tUap hi dda caaeanih aai
averted the czplaahiB whkh had haea faiobed Ifar firaai tte
smothered discontent of a host of diuippointed persnni.

At all evenbd, such an affair i* nio»l disifraccfHl, fur with only
lol^Tulilc inan.ii,'cnici}t tlic rn rifits of this theatre mit^ht, in the
wiiriit of sfasonii, he nLide to balance its expenditure, (icne-
rally Kpeakiui; the prufili ought to be great ; and, in )>oint of
fact, whatever may have been artfully ciienkted to the contrary,
tliey have been lo, If calcuhktcd en an aTOrafa af yean. Tha
X,i7eMryGcn4te«iknB>aaj ahla nanffta aa Ike alata nf thia
theatre: had tha writer haea 1hitherae(|Bafartad wlA ilaiBlrig«e%
he woidd have been better able to account for the eseriiitaat
salaries uf son»e prrforrocrs, — the wretched pittances of others,—
the wasteful cxpi-ujiturc renulting^ from ignorance delay, and
indecision, — the penurious savings of sixpences, and the sense-
leu lavishing of thousands : — ^lie would have been prepared to
explain to ua why it is eo often infested by person* deatitoM of
charaetart aad irfif a e nadiained, « notorimts, aa fauafrl|^bla
f«lott.««M af tta wnataaaqiaBihif riifadna that avar aaopaA
r X eenlSon— haa bean, and laeaatly taot aa faad to act hia fiiot fai
the hutise. to hold for a time somelhinf; like a direction in it, to
insult by hi* presence every honest roan aa tha eatab l i shm eat^
and to p«eta Hw degiaded atata «f aHri

Enolikii Opera House.

O.v Monday, Auffuit the 7th, Winter's opera. Dm rWleffe
hroekene Op/erfrtt. or Thr Inlr,-r„plr,l Sarnflrr, translated
and adapted to tbe English stage, waa produced at this theatre,
being the tirst time that it waa aWT htaid la Bl«faMi> ' Th«
charactata an thua cast:—

Wr, J, BtHid*
, Mr. IVrVina.;

Mr. I'liillip*.
. Mr. Alkiiis.

The liie« of Fern

Roera, bis son, a Reaeral ia the anay •
Mafiru, a Peruvian geaetat >
I'illiiruma. Ilich Print of the San .
FauU.lriml, ;n 1 tijtlishmaB, ander t he aswii aed

Mr. Sapio.
McThama.
Mr.DaetiBg.

Mr. East.
Miss Palon.

Miu Hamilton.)
Gowinl.
BoJen.
Southwell.

fMi»<
< Miu I
|,Misa!

name of Sidney
Ptdritio, a Spaniard, I
A Jitra

Orano, a Perovian 1
^yrn, sister lo Ketea .

eirira, a Spaeish captive
Gultra,'l

L'jli'a, y . Peruvian CiiU
Sjfra, J

Uaring. in the former part of this number, devoted so large a
apace to this warir, wc hare only to add here, that it was per-
formed in a mycnditaUe aunaer to the calahliahmaaU and
got up, as to seeaery, deeeraBons, frc. with gifatMianlltys

that thi? various persons engaged in it tM aUlMcd to aWB
praii** for tljc care with which they had itojUed their paria, aad
for ihc-ir z. al in the performance of them ; particularly Miss
Patoa, wbuM esertiooa fully entitle her to the very warai
appUiaa by lAU hir afteii an aiBh^f fiWMM.

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THE

H A R M O N I C O N.

No. XLTL, OcTOBBR, 1836.

MEMOIR OP GIUSEPPE TARTINI.

OiuiEPPE Tartini was born at Pirano, a sea-port on the
coast of Istria, the 12th of April, 1692. He received the
first rudiments of knowledge in the Oratorio di 8. Ft-
Kppo Neri, and at the nne tiueinibliNd »tMM ibr muMc
•ad the yiM» from Wa tutor, who wu an ■mtev of the
art. He aftamnb went to complete lib tlndiee in dw
mirenity oT Pkdoa, where he became a tolenllto ]»o-
ficient in the science of jurijipnidence, in which he would,
probably, have excelled, had not his natural biaf for music
led him to devote too much of his time to that more
«ednclivp stuily. \lc, Inswevir, t'minfl irisurt for other
acconiplishineut-f, and bfcuine so prciil an uilcpt in
feiicinn;, as shortly to siirjiass his iiinxter. Much prariical
knowledf^e in this art is apt to betrny a irum into loo f;rcat
n rffprec of !«eir-confi<lence, and make hini court opportu-
nitien for liixphiyinjaf hi* skill, very much to the annoyance
of those with whom he either asjMJciaten, or comes into con-
tact Accoidingty we find Tartini aignaUzing hiniMlf in
Mmsnd dnah, la ul ofwMdi he^tpcan to here beea nc-

At thb period, too, love Iiegan to disturb the repose
fif Ike yoonf aitiat. Ha had VBdaitaken to ghre some
naaieal fautractioni to ttie niece of die CarilinM George
Ccaaeie^tiahop of Pndua. It was a danc^erous charge ;

* FfOB lip* like iliote what pncepti (siloi to move.
Tee woa thar taafhi Air twaa m eraaa to late.*

h mem muriMgB waa the
down upon ham Ac twofbM T eage a a ca of the Cardfaial

and of hb own father. He waa forced to quit his paternal

roof, and seek his fortune in the world. To escape the
ri4fe ot" hi-* eneniiis. In- was oblip^l ti> li .ne liis native
town in till' <lis>rnise ot a pilgrim. .\lter wandi'ring for
MKne time Ironi place to place, he at \a»t found an asylum
in the conviui of the Friars Minims of Assisi, the prior
of which was his rflulivc. In this mona.stery he re-
■Huned nearly two years, ami found an opportunity of
devoting himself to the study of the violin, which he had
almost entirely neglected amidst the dissipations of Pndua.
But what above M served to initiate liim into the secrets
«f aiiaicanddetanaioe him to makcithiaptuaaitthnNigb
kfc, weia the InHnwttons of PadiaBoeBn,aa«ifMilitor
die aonftat, aad a BIB* of merit.

Atlaafldiaa aaMcwn aoddMH maaM Ua ntocut
TInlBf ana Svoday an the vIoBb In tte chcrfr (>r lha dnadi.

Vet. IV.

a sudden bla.st of wind blew aside the curtains of th«
place set apart for the musiciuns, and he was reco .iiized
by one of the inhabitants of Padua. He gave hinuelf
oTcrftrkat; bnt what was his joy and surprise when he
Cardinal had been touched by the team aad
of the young bride, had prnmbed bis pardon,
and had for a long time past been seeking him. in order to
restore him to the arms of his niece, who was pining away
in secret anp^li'^h.

On his return to Padua, he applied to his musical
studjes with redoubled zeal ; and shortly after, an
academy of music boinjj foinnled in Venice, under the
ausjiiccji of the king of Poland, hr h:is (Iidmh a member.
He accnrflinjjtv repaired Ihillar \\ilh liis wife, tiut his
stny in this city was of ver\' short duration, Ha . in;; neci-
dentally heard the celebrated \'iolinist, Yerarini of Florence,
he was at once so astonished and disheartened by his Ixild
and neW '<8Qle of treating this instrument, that rather
than venture upon a competition with him, he chose to
gtve up hia oew qipoiutment, and quit Venice. But this
cbenaMtBuee had its beneficial efl^ct upon the mind ot
Tartfei^ \ff awakming an udoit dcrfn of ifvalHiiK tha
eflhrteafftatgwetaitiat, and liyealHng I n to BBtl e a the
energies of his own genius. He retiiad to Amioiia, ia onder
to devote himself without int emi pt h m to hia atadiaB. II
was here that his tnU nt wasfiilly deve l c p ed ; and from tUs
period (1714) inav )>e (luted his creation of a new mathad
tor the Nioliii. I', was here also tliiit he nuda OiM dit-
covery of thr phenomenon of the third toiind*

• The pfiennmrnon of Oio I'ur l t.iun'J in ihnu dr5«rihr<t by an in-
terprner ralh'-r ll)»n » tmn.hiior ul T.if,.ni"i very obwure IrrntiH' : —

'I'wo !iniii<l3 ljcin„- ^iven on mmical iriitrumeaU that ailmit of th«
lone? bcii).- h.-l>l oiuan.lntteilflhenednl iilmsuif,— ••violiM.oboM,
h»rna,tiumpHi>,&c.,a thini found will h« heard. Oo the violin lat
the iniamis C B^CS B, B B» B C, C, ba aaeaM wilhasMat
bow, and Om thint eoaadt, repra i w rt eJ by lha Mach aatss^ wiU ha
iKenI, a» in ihefollowine example :

A limilat ihio; wiileccar tf Utt
(•o plajeri on tha vMIbi diataai ft
ftat J elvaya amg a atieag be«»ead

Tha

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186

THE HARMONICON.

won of indefatipraWe exertion, he reaclieil
fbc KUimnit of his ntnl'itinn, by hciiifj ackiiowltMljreil
tlic first living ar(i>t u;>mL ii!s iiiN(ruiiiciit. llu qir.ttcd
Ua retrent to take the lead uf (he orchestra of S, Antonio
41 Padua, at that perimi one of the most effective in Kalji
and when he continued daihr to extend hia reputation;
in 1723, he vnia biviled lo attend the ewonation of

tte Emperor Charles VL at ftagiie. So flettering was

his rece|)iioii, and such the honann he obtained, that he

was induced to ttike up Ms residence tliere for three years.
After tin's he returned (t> Padun, iiccompaiiied by Ws iHeiid
rtne lit" llie nin-il di'^liri^tii^lii'tl \ ii)li>iR'i.-lii-tN of
that pi i iin!. I lo ristiiued liis dtiliis v\ ith rciluubled zeal
in Uic onhc'slru of .S. Aiiloiito, ami the volatile Tartiiii
of otic uihI tuciity, was now ]>i-ai^rd as a model of
laliiirious ii])iiliciition to study, ami a ]):ittcrti of domestic
virtue. Aftier the period of 1730, nothing could iiuluco
Idmloquit the ei^ojrments of his quiet home; nut tbe
moat earnest solidtations and most advantageouii oU'ei-s
tempted him to accept any foreign engagement.

At the age of aeventy-eigtit. he was attaclted hn a scor-
Imlie conphdnt. • On- reecMu i Mfewn al l ea of Mi dis-
«ideri hb fiivorfte pupil, NaraiDi, att ont fnm Leghorn
wlflmut delay, attended his aged master with die most
assiduous and •soothing cam, and Bcror quitted him till
ii'islast tnoments.

Tartiiii ditil on tlie 16th of rdinKin,, 1 770, atid « :is
ljuricd iu the church of Saula Cntaiiiiu. I luli-r tin-
(lircctioii of his successor, tiiulio Maiicjilii'-ii, u funciul
ceremony was celi-hratcd fn liis lii.iioi;r iu the church of
the Sci-vites. His crlo'vium was priHuiunced by the Abl.e
f aii2ii^(>, and llic siit{;eni and ordicslra of tlie chapel of
S. Anlvnh executetl a AefujoB, eompoaed for the occa-
sion by Padre Valloii.

Like the ccUbruteil Boccheriui,* who, though with a
'■ool ail melody, produced but one ncdmeB of vocal
Muric, In his SteM Jfiria% so Taithd left the worid but
m. ahwle ooimKnitioB of this lUnd, a Mitnre, which was
nigra the Sittineehspel at Rone, on the Holy Thnrs.
day of 1768, in tiic presence of Clement \I1I. 'llic
Heron Apistino Forno, Uie author of an lulu^iiitii oi'
Tuitiiii, pn«no\uic<.ii on occasion of an hiMioraiy nji riufr
to the nmhur, in ucknuwledgroent for this couipo!»iiioii.
Hiys, ■ that it justly deserves to rank, hq^ amoqg produc-
tions of thist kind.'

Alfgwotti inlbraiB us. thai bcfiwe sitting down to com-

a ad tor wffl bsar the thiwIioiMrt waefc beoer it placed eineily be-
ivaea (be two iiiMranieM*. tbae if aeanr to one titan tin cnlier.
Too obor^ will prodacr tlie Mae eflect, placed at a mucli ^rviiter

€l',»ijirfc.i V( n vili. ie licaier is not in tlie iiii>l<!li'. t>M« ttill more
ro if he i« i ii^i.!i<iant from the pcrforinLrs. I".(irn llii, |i!ii-iMrii<^iion
Taitioi <!c<iucea all the diirJ loanda arinflK from aimpte iaierval!!.
thaty m ibMceai t toia the ha mn a ia ss ri s^ aa fcr asit is ased in

(Sm Pi-ineipl*» aivl Powrr of Harmant), nublUMdialTTI.wilh'
•w* nainr.buinriiicn h; I li» learned Bcojnmia Stilliwfleet, Km\.
srandeon nl tli« coUtbmled Uuhop oT Wolceslsr. We have altered
a U rn oi the B<i-hoi^w«ids,witha viewto gi** aioM dsaneM to

Uh- ripUtnatiuo.]

Tha dise oveij oribn GmTrHarm,,nu<. ihf^ iliird sounds art'
called. WWinade ao nearly at tbe Mine tine b/Tartiniaiid noniimi,
thai Imill wrni to imto uq un4leak(ad eWsi to be cnnaiden'd as
«liKO«*rpf«. M. Bnmi.Mi vaas iM«b<T Of the Roval Society of
Scimcee of Moril|H-lli*r. Tlwinemoir « liicb he le'ad before' tha
Socielr ia entil Ir J, "A new Hiscovery of grave harmonic souncli. w liicli
are »er5' •cncibly proWu^rH/'roro (be union of wind inatrumvnt*.'*

tVp cai.nci 111 Iji i \yu-u\e% out »i»h tint iIk-bl' ex|H.-ciiuenls
*l»o«'ld be aiiBiB tried, ia a reiy cautiona, accurate aiaiuicr, and

pose, it was the caitom of Tartiiii lo nnd • pa«sa|ife of
Pelrarrli, as well to attune hia ear, as tO have, a deter-
minate object to describe, and not fidl Into tlw vague;
hence, w hen he had once made choice of a characteristic
motivo or Nubject, he never lost sight of it, but always
made it the predominant ftatun in hia paintmg, round
which he judidoaaly grouped all ibe ol^e^ of minor in*
teresL

Fkom the cdehraled fthool fbonded hj Ibrilnl in 1728,

he has been called II Mapntn diHe nazioni. It gave
birth to » Pagiii, a Xardini, u Pasipiahno Riiii. an Al-
berphi, a Domenico Ferrari, a Camiinati, n Cnpn/.z!, a
Si^ioretti, &c. Among the most distiu^ished disciples
of the same iichool of a later period are a Pugnaai, » \liollL

Uaillol, &c.

Tattiiii rendered himself not less celebrated as on
iiiitlior than as a virtuoso. His work entitb '1 7 > di
Mittica ucottdo la teraSeienza detV Arm t j n. l. d
in a p eat measure on the phenomenon of the tliird Nound,
waii tiio sidiject of several di^sertadons from the learned
durii^ the oeriod iu question. This^ as well es the other
worlis of this master, ai« kamni to all thoee who an
curious in traoiog the march and pnmss of the mu»cal
art, and who strive to form their tasle oy the study offbeat
modds. Beside:^ the above, we liave also fi'oin Ids )>eii, a
Trctiixc on thr Ornamenlal in Sow? ; T/u A rt of Bowing ;
nh<l u ^-ciics of Instnicli.iiis aili!rfs--ci.l in the form of a
letter to .Madunii- SiriiK'ti, whicii miiv s^er^e as a lesiion to
all tlio-^e who la; .lur lo excel on this m<wt diilicult of iU'
.slrunient!). 'i'licic are above a hundred soiuUas, and aa
many concerto.s of this msstsr, all m a ritsil by various de-
grees of excellence*,

Tartini ftjrmsd several pupils of emiuence, among
whom Pai^iii was consklereil, by the master i""— if as
tlie most laitiiful reilector of his style and manner. By
the help of iiifimnatiom that baa been bended dowa to-iia^
weO as Jhxm the wotks that nmahi of this gnat
tutist, a tolenbly eoReet Iden may be foesMd of his i
riis, as well with respect to composition as
His works, whi. h are lioconie stniiige to the present \_
ration, stand iu need of a skilful translator, in order to do
jns;iL\.' t.i tJiiir excellence, and cauKe llicir real vajiic to lie
iu>(.y up]jrcciattd ; but tlieir intrinsic beauty, Jkiiu'iI to
Uic deep IcdiiiLC anil spirit by which they are cliurac-
ti ri.ccil tlirou^liuut, wiii ne\cr sutler litem to lall iiilOt
nliU . ion » itb men of lastt-. The inutuicr ol' uritiii;^, or
nither the m<i<le of iiotution, uiiimtf; the iicisiciaiis of for-
mer times ini'.icatcd Imt vci-y vajj^icly llic trur manner of
executing their mosic. The adagios, aliove all, may "be
considered as outlines, vrfaich the peifefOMr filled up i
enrdtng to the hnpidse of the moment, and the
of his haaghiBtHm. An adagio, wMeh IbMW Ims <
mcnted fat ewmittnn dlAnent ways, saeeuM* nveal to im
his secret tn ensting melody, and, to ncmtalB pohH, tho
extent of his msoarmst. RumMsHsllui OntktOmf

* bightcca of Uie most beautiful of (be aiMMlai^ bava
Olstly aagiaiwda ss ssa i liaw, far ihaaaaof tl

Plaria. As eoBcenos, mmn In^ wm mI

dam. TVir Art nf tinvdruj is found in J. B.' Cartier'a etcelleat
work, La OMihn <le» Keoltt du fMon, wbersalio ia found La
Snnaia iM Pimolo, Of TaitiaPs diwua. Tbt letter to ~ ~
S r.nen wiU belHwd hi M. flmalWIs InHieatisg wwdi, ifl

tThit colioes'pisae BNgr be x-i n ut the end of tbe eicclk-nt
wMk^aUtaif netieei* h B> Canicr't XMsMsn de* Mm ds

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THE HABUQNIOOK:

mental in Song, we iln Itmm in what nameT ttb

empldvi'd his oriiaiiu'iits in rolritioii to liuriiiisny.

Look-illi? ill llie <r(-iii'r;il rhriractcr, rnlhiT tluia the (orm
•f hi* f'oni[>Ovitii)n-., — in (itht-r «<irils, h\ liikiu;; thciii such
as they nre, and not hUth us iuli\ Imse rfiideri'ti tlicrn.
we have no ditiiculty iu advuii' ttnit tlic rr)iii|)ositioiis
of Tnrtini contain such numerous beauties, ami those no
much in accordance wltti the elrmeiits of the pasi^ionK, and
iriffa the accents of nature, which are found to bo the
I at all times, that they could not fill of [mHlnc in^,
in our da]ra» sdccp impRukm upon unprejudiced

fttU tS gnat

Ikt bow of Hartiid, ■annBM for the flnt time

Dn in the adapo, "in that species oi
■ong:,'* <o the words of an enlijrhtencd critic, (M.
Giuijiient'',) " to which it i"* impossilii.' no! to attach a
meaning, and in whicli thp want of «nrd-i is l:.ut little, if at
all Mt." But Tartini Iris lu cii rcDrouched, and with ju'-ticp,
with too lavish an eiiipioyment, or rather abuse, of trills
and other decorations. *t)ne is Mirpriscd nml mortilicd to
find a mek)dy ahoundinp in deep feeling, overloaded witli
misplaced finery, and, if the expre-i^iua was he allowed,
atUM wutar a weight of flowers. But it wa.s the besetting
ria of' the liM \ CorriU wea not free from it ; for in>
I • eollcotkm of faia eomtaa, in which are
Mt eattn line, « prolWoB afcmbeUiahnieula,
eapietdy» but which

dera eompoeera hare aT<ridcd thie enor, by rather indicat-
iaw wbare omamcnla ahould be placed, and leoving the
eewetiou of them to the ta«te of the artliit, than under-
taking; to fill up everythin^r. without leavinff any room for
fancy or the inspiraliun ol the moment.

Hclbre coiickulinix, it would 1m" utipardoiuiMe iir)t to
noli je I he liKlicriiiis imecdote w hich frave birth lo the cek-
hnitpil Sonata iM l)ur-nlo. The ibliowiug its the uauner
in mIucIi ii wa» reLMniiited liy Taitinl Wmilf tnlhe Bitlie
hraltxi astronomer Lalande : —

" One night, in tlte year 1713, I dreamed that I had
■ede • compact with bis Satanic Miyeaty, by which he
WW iMtlTed into my aervioe. Bmy 1hlii|; auBMeded to
th« titmoit of my deairea, and mj vnrj wnh waa antici-
paledbythismyDewdomealie. I thoMfht that on tdOng
ly violin to pmctiae. I JoMteiy vknA. Um ifb* knew
on tide ImIuimihI ' He enevand (het he

to play

believed he waa aUe to pick out a tune ; when, to niy
aatoaiiihment, he begu a nonata. so Rtnuig^, and yet

ISO beautiful, und exi i iili rl in so inusteriv a uiaiiiier, that
in the whole course ol my lilc 1 liad never heard
ntiMliiua: so exquifiite. So great was my amazement,
thiit I could scarcely breathe. Awakt ni'd l>v the \ioU iil
fiensatiun, 1 instantly tteized my rioliii. in Ui< liojic i;f
l)cin^ able to catch fonic part of tiie ra\iHhiii^ uieloily
whi<^ I had juHt heanl ; )>ut all in vain. The piece which
I composed according to my scattered rccollectionn is, it
u true, the best 1 ever produced. I have entitled it
Sonata del Diatx>lo ; but it is ao far inferior to that which
had made so forcible an impression upon me, that I should
hmre daebed my liolin into a tboaaand pieces, and ghren
up nMMio for ever hi dHpair« bnd it been poMibto to d»>
ilnaeivefinnlt."

The foOMdag are TMtial'e

niu<iic : —

l-l I'raUal'i di .^^HJlil•a,

This treatise is foiraded in part ui>on the phenomenal
of the third sound.

M. Scrre, of (ienc\n, in the ^nd chapter of hist Ohiier-
rafionn tiir li-f Pnucipr-i df /' Hdniiotiii , has broiujlLl iutu
onr point of view ail the various objections that have lieeii
iirL;cd uiruinst the «yB<en«f TmUbI ( Ibtogavcfintoth*

following woric :—

•2nd. Riitpotla di Oitur}t]}r Tartini alia Critica del di
lui Trattato di Mu»ica, di M. Serre di Ginerra. VeiuL
1767. SCO.

But tbooi^ Tartini replied to thie eritique. ami he pro-
fited by the obacrndioiM whleh it contataMtU and faopiVMA
inathainyfaiathiidlrealiae: —

8rd. IXnrrtaxieine dei Prineq^ ddP Arvmiia MiuiBak^

contrnuta nrl Diatonica Geiiere. Padova, 1767. 4to.

In vf>l. 44 of the Uios^Taphie Uuivfrnfll/; which recently
op])caTed, there is a vcn, intcrcKtiiig article by M. Prony,
relative to the scientific works of Tarti^ii. The <udy tiling
that suqirisf-i us i- , th;it t'lis ilkistrio^is ireoraetriciun, iu
sjieakin^^ of the system of Itameaii, fininded upon the phe-
notnennii of .i sonorous IkkIv, talies no notice of the recent
cxpcrimcnUi upon the vibnitionii of string, ex|>eriments
which have a strong tendency to refute the theorj' of ila-
meau, that each fundamental soimd is aocompanied by its
octave, iLs twelfUi, and aevenleentli major. La (irung<e, ia
sectioaVLof hia Jlfienrifiie^oai^fMnt^iMd already da>
mooMnled, **dMit a Taieatini; etii^r le eveUeorMv
divided imlio aanadMr of eqwl parte, the oecillations oT
eadi of wUifo t^ phoo m otpml, ttaiee, aiMl produea
only one aoaad at a ttaCi." (<"
p. »6.)

(we H^tMoaioos. vol. 9.

UOZhSr AND SALIEU.

Shobtlv after the decease of Sulieri, which took pliu:;*
at Vienna, in 1824, a report was sjueaii uf his lia\iuij
poisoned his frii ud and brother artist, the irreut Mozart.
Upon inquiry, it appeared that tliis report had originated
in certain enpresi^ions that had es&a])ed Salieri during hw
la^t illness, and which were attributable to tlie delirium of
tlie moment.

On this occasion, the well-known composer Neukomm,
who bad been the boeoM Mead of Moxart, and was pre-
sent at hie death, mote a letter, ea^oaing the fallacy of
the report Thie ^ooanenA enpcored la eevend of the
foreign Joitroala, and the painfol qna^fam aeemed happily
set at reet. Urn anbjcct hae. however, been atwted aaew,
and the horrid imputation against poor Salieri been re-
peated witli more eoutidence than ever. Signor Caipanf,
a name with «hi, li our rt a.lL-rs urc not unactpiainted aS
a writLT upon luusiLui suIijclI.s. has undertaken the de-
fence ot the cabmiuiated master, m a letter vvliiLli ajipearcd
in the llih/iolira IlaliaiKt. Alter a variety of observa-
tionf of his own. which are hi^'lilv cretlitublc to bin feel-
ings, he lays belbre the public the following letter, re-
ceived by hint in rejdy to one he had written, rela' .r (u
the question, to Baron Guldner, a physician of emnu-ncu
at Vienna. We hope that this letter, w ith the attesta-
tion attached to it, will have the c&ct of settii^ so pain-
ful a quMtioB atnetfoc over.

LiUtr fiam Ae Bammi QuiDma of Vienna.
" It ia with gnat pleaauie. Sir, that I beaten to oon*
municate to von all I know relative to the IHaeaa aaf

death of the p e" Mo/.:irt. In the autumn of 1791. h«
AU ill of an uiUummalury fever, which ut that aeawn

8E9

Digitized by Google

Tim harmonicon:

M> |M«Vi]ilit, dltt ftw MMMM entirely eacapcd ita in-
'flueooe. I wasnotmllbdIolfflMiDe dmaAcrheliad

been lahourinp: under tJie Aaorder ; tut f had recmed

Inrormiitiiin of it from Dr. Closset, who daily attendod
him. He coiisiilt'icd Mozart's ca.sc as dangerous, and
«ai«l, that from (be first appearance of the complaint he
had feared .1 fatal rf?tull ; t i;., u determination to tlie
head. Our day lir init Dr. J?rillMl)ri, and oliservi-d to
him, that it wu.s all over with Mnzart, that it was nut
possible to prevent the determiniitimi 10 the head.
Sallaba instantly acquainted me with this, and, in fact,
Mozart dic<I some days after, with tlie usual symptoms.

" HJa death excited very general interest, but never did
konee oecurto the mind of any one to suspect, even dis-
turtly, Umt hu death had been occaaioned by poiaon.
Numeroua were the pciaons who smr hbn during Ue Al-
ness, and unremtttuig were the attendone ehown Uni by
his family ; above all, so scrupulous was (be wntoMfalnces
Olid cure bestowed upon hiin by the worthy and expe-
ric'iicf<l Dr. Closset, who. during the whole of this painful
period, di-iphiyrd rather the soli.^itude of a friend, tliun liic
atfemion>. of a medical man, flint if is imposHble the
slif^litest trace of anything violi-iit, ol uuutliu^■ likf pcii'von,
could have escaped him. Tlie disorder h;id its n.siinl
course, and its ordinary term of duration ; Dr. Closset
had watched its pragrcss with so much attention, that lie
predicted the result to the very hour. A great number of
the inhftbitamtB of Vienna were at this time labouring un-
der fhe sanM oomplaint, and the nunolMr of eases which
tenainated fiitally, like that of Moaart, was eonaiderable.
I saw the body after death, and it exhibited ao appear-
ances beyond fluise usual in such cages.

** Such is the substance of what I have to adduee re-
lative to the death of Mozart. Nothing would prove
more gratifyinir, or niori- siifisfnctory to my iiiiiiil, than to
know thiit tliL' Icsliniiiiiy I iri\c i'^, in ^onie degree at
lca!it, a\ailaMf (o co^iinoruct this hnrrld imputation at:;niii'i(
the memory of the t'M-cliciit Salicri.

" You will pardon me. Sir, for my not having; retunied
ao early an nnxwer to your application as I could have
wialied; nothing but u .severe indisposition could have
prerentod me.

*' I am. Sir,

** With the greatest respect,

" Your devoted Scr\anf,

•* Duldtng, 10th June, ls23.

Attcstatim of S-vLiEm's Iwo AiU'iiJanU.

" We, the tmdersipicd, «lio uti-, by jirofcssion, attend-
ants on the sick declare, ill the ])resLiiLe o(
God and man, that in the spring of iH'i i, we were culled
to attend the Cavalierc Salieri, maestro di rapcila to the
Boyal court, and titat during the whole course of his long
Ulncss we nerer quitted him a single moment ; that
is, when one of us was absent, the other always re-
mained in attendance. W« deo attest, that in con-
■equsnoe tiS his weak state, no one was pennitted to visit
taim. except oursdves and Us medical attendsnto; it
being judgied proper that not even the nemben of his
own family shonld eea Mm. - With respect, therefore, to
the following question put tons : mtelher it is true that
tlie afiresaid CaivHen Salieri hiui snid, durimj his ilhicss,
th(ii he hail yjiMmxl tlir crli'ltralixi c.'niyiirr ff'vJf'/'mi/
Hlozart? — we reply, upon our honour anil con-^ciciicc, fhut
we never heard such words uttered by the said Salieri,
nor the slightest mention of anything alluding to it.

filUow^- .

** Oioaoio Bosnanot
-Ii^trmien.

stro di Cdpet-

Fieiuia, 5th June, 1S25. " ■ • " ■ ■■

N.B. Dr. Rorhik, the medical attendant of Salie^
oonBrma, as &r as h^ knowledge goes, the above slate*
made by the two assistant iiffi-mieri.

" AVADRO PoRSPHP,

Iiifirinicr<- mrtio if Sirfnor
Sii/i''ri. ^^tu■s>
hi di Corlr.

PRESENT STATE OF TH£ OP£ILA IN PARIS.

7b tte Eusoa ofUu HuMonoox. ^

Yov wi-.h nic to give you some account of the pn'-M-nt
state of the Opi ra in our capit^ and though the sub-
ject at tiiis mninentisTeiy vniammg.Iliaatentoeonply

willl \<iiir ri'ipifst.

First, then. >sith res])ecl to Xhu AciKli^mie RnyaU rfe
MiisKjite ; the ]>owers of this house, great as they arc, und
elfective as (hey might be rendered, remain lulled in a state
of the roost profovind inaction. A species of Asiatic apatl^
prevails here, well enough suited to pashas who dozeaw^f
existence in the midst of the blandishments of the hunm,
but extremely ill- a da p ted to the axj g enc i e a ofnpBlillewfcieh
can boast m so many cnllghtenra amatenra. Bat dm
rea!<ioning within the walla m tMs house is very eoneln-
sive >-Why risk anything in the production of novelties,
when the government-money is always nt hand to supply
(he defcrtK of our inactivity, to feetl a band of llatli-rcrs, and
throw n dcHciitp Teil over the eflects of our caprice and
inilnli ? It is dniilillcis to causes like these that the
iimnf it(.i';v of our rtprrtaire is to 1)p attribtno<l, «hich lor an
.1 j;r has Tuit liad to lH>asf of a single !!■ ^ < lu . Xnr will the
same princi]>le cea.sc to produce the same consequences, till
the source of this sednctive far nitnte \>e cut off. In the
mean time, all \^e can do IS to submit, with the best grace
possible, to the old nratineof our Gothic lyrical tragedy.
While Italy and Oermany are daily enrkbii'ig themseivca
widi new productions ; wbile move Ami finty dtlee of thcee
two kingdoma bofal out overy eneomragement to yomi|p
composers, — ^we an eo n den m ed to listen to seores Aat
date more than half a century back. Such operas as Zee
PrflenduM. Panurf^, la Caravanr^ Anarr^on, If Dicin da
ViUa^f^ Almlf, Armidr, Fphi^rnie en Taiiridr, Did' 11,
Efflina. and even (Edijh; arc Uie idols to wliich the future

pro«i)e('!s I)! <:ur . u ung and aspiring BMwkiaae aw deettaed

to be sacrificed.

Do not, however, misunderstand ine ; I am fur from
calling in question the merit which the*e works possess;
but I may be allowed to remark, that much of this merit is
relative, and that thougli it is desirable such works should
be prodiice<l from time to time, in order to show (he charac-
ters of particular schools, it fay ao means foliows that they
should ooeniy the stage, to the axdmdan of modem wwfca
ofmerit. HowoouM the art of aong, which has ao mncb
need of being peiftcted In Fmnce, be expected to mafce any
progress, when nothing bttt ancient scores form the study M .
our singers, and when they never make their d^l)At hut in
tlie same set pieces ? For nmrc ihau thirty vcar-t i)asl, our
princes.ses <piite regularly ami iiK-'Ji'ulii ally ajijicaras Anti-
gone, our princes I'olyiiirf^';, our liasses as (Fili])iis, und

our tenors ati Aoacrcou. And yet, in spite of tliis spirit of

Digitized by Gocxjle

TfB HARMONICON.

wMSm, m iuMfiuit Rvoliitioa Iih tdm fkotiii Um
«art» «r noUte; Spontiiii btiHi it, ia Vltmad uid
dudted wmk £• Fcafafc, and it It t» II«niiiCpcrtuHWi

that the honour renuins of puttiniff » flnidungr hand to th«
Work, We are already, in part, weaned from the preten-
sions and nioiiolony of our recitative, whic.'i, to say the
truth, is nothiniT else than a parody on the di-clamulion ol"
our :iiu ii'Ut tiieatrr. Ciluck hiinselt'ii(.kiiinv liii^ed the fact,
w!u u hi' Imabtud o^haviI^g: noted down the recitation of Le
Kuiu ; us Gretrj, iu liis turn, soujflit lo ioiilatf Ihi- dcclania-
tion of Preville. Wliatcvcr may be said lo tlie ccntniry,
this system was false ; this is not the province of music, the
true eliect of which con result only from new combinations
of liormouious sounds, adapted to liie sense of the words
■ndthcpaadouofUiedianciera. I say panioos, ibr it is
tlW|N«viiice of dnnatic mnaie to paint thoa alone, and not
•o allanptto hacoaia theutaipfeter of the nibtiltiea of the
■indudthapeenliarilkaoflangitase. ItisomlydielVendi
who have pretended to cTrctunacribe nusic within these
limits; other nations have better understood and employed
ilis resources. If we look at Metastasio, whose ^eniii.<< and
skill in his department of the art will not surely be called in
question, we shall find that he modified liis genius to suit it
to llii- i xitjontius of tlic niUMc, and Avas well aware that he
Was tracing on!) an incomplete picture, ih'.- oiilliiics of
which music was to till up. I say liii^ in order to remark,
that the pretensions of our poets have always been an
obstacle to the progress of our music ; they have lost sight
of the end lo be kqit la Tlew ia audi compositions; they
have faeca intent upon composing wmwdieii uiid tragedies,
nhcB didr object should have been to produce a lyrical
dimar-a OHnaa fitied ia alt mpecto to peorive the oolour-
iag of made. BomM caanot, th«nlbi% Iw nrf&ienily
commend pd for the hesitation Iw bascIiowniB tiie clioice
of a poem; by selecting the woilt of an aoadeaudan,
M. Soumct, he has nhown the just importaaee whldt be
attaches to this port of his suliject. Thus much tn favour
of Sipruor Uii-Miii : l ut I slii.ll nut .iHt tu^i tu iIlI'imuI l;is
conduct iu as lar U-s rcguriU his tiiK tliun u) our thtaire ;
I even regret that a muiiician of bis stamp s'.muld lose his
time in the discussions of the green-room; the Orjiheus of
Pesaro is surely out of his j)l«ce wheu counting o\er the
chevks of the preceetling niglit, and it can prove no very-
active stimulant to liis genius to be condemned to satisfy
the caprices of asrtnuK^mM. Adulduf itie nuiMiOqabt
to take a loftier ligilt, and aoar abovt thiofB ao grovdug
and terrestrial.

The SUge dc CorbOe is eipeetad to audta its appear,
aaea ia alwat dx wcdca' tine, and it is to be. hoped that
U will haro tlw dibet of laatoriug Rossini to that pUoe in
IIm public edbnatioB, which ho appears, in aoipe degree at
least, to hare forfeited. If we may credit the common
report, the fullowiug is the manner in whicli lie |)iisfei lils
days, a mode of existence that wouM apjiiar lo l>c any-
thing but fuvoumhle to tlic uiu t~, ami their isisiiiratioii'^.
He seldom rises, it is said, ii 1 uw i,e or one. when, in
order lo recruit ills I I S. li.' attai ks a most substantial
breakt'ust. After ihis iie streiclies himself at ease upon
his sofa, and prolongs his riesia deep iuto the aAemoon,
till the wished-for hour of dinner. If not inclined t<>
deep, he indulges iu a series of reveries, dibar serious ur
playful, as the impuhw of the noment may angfiatj but
it is said that they aometimes aamune a very gnm eaat,
ia the fi>m of mrditatinat apoa the fiail adore of dl
bninaa glory. Oiaaeris aaimportaat aflUr; indeed it
forms the gMtboaineaB of the day. No ideas foreign to the
enjoyment of thtawment are dlo<Tcd to iutiude, nw any

diateaetlng ooawMtion tlwt aiigbt intcmn>t m aarioaa am
ooeupntion, wfiicfa is prolon^ped till late fa the CTeaiiigi.
After tliis, it is easy to imagine that I-; Ada the waat «f

repose, in order lo consummate the great woric ofdigeitioB.

Happily, night delays nottobrintf the wished-for botiia

of sluiiiljcr, uiul shtd ujnin liis eyelids her soft restorative>
" Once only in tlie month," says uu uuthorilv which we
quote, •' df>*'s ilie director of ihe Ih.'f/i dnuj hitnself avray
from the Ijlaiidi^hi'.u iils of domestic ease, in order to take
bis lounge, and exaniiiu* the contents of tlie thetttricaJ
colfer. After this extraordinary elfort, he returns with
dijublc zest to his belovetl quiet and repose. Such is liie
repdar liTo which our musical philosopher is snivl to lead,
and such the nohle employments in which he jH iiiN hia
time ! It' such be the case, how must that man have boea
iupiied, who first betltought him of robbing Italy of so
great a nan, ia order that France might daim him as km
own, and ectaUisfa him in a [losition !n wUksh he is aa
worthy to figure — thetof director of the Bujjt.

With regud to the Thtdtre ltalim, after the departure of
Madame Pasta, who went to shed luslre ujxiu yoiir i t 'l^—
a lustre of which, if report s|)eaks taie, it stouit uol u little
in need, — .111 iiiti elioiis enniu,a kind of theatrical ;nri/-(Trti/,
s[)read its intiuciice over the lunise, nixl daily thinned the
rinks of the di/i Hai:!:. Hut what was ac;iic\eil durhig
this melaiicholj interval ? Why, arter the host of sinspi'rn
of the second order had done their utmost to luceran' ihat
glorious masieqjiece of the genius of Mozart, the // D»»
(iiocaniii, they recommenced the llossinian litatiies, and
intoned first Jl Barbiere, and then La Qatxa Ladra, tba
La Gazxa Ladrm and afiermuda II Barbitn, aad des
rend.

But it was iamoadUe sadi a state of fhlnga eoiild lad ;
the bcndies of Ue hawe were left empty, and all the cb>
lightened itatrons of the art stayed away in disgust. In the
mobl fortunate mnmei.t |>ossi1)le came Mile. Soiitog, wba
for a time averted ilic rum thnt impended over the empire
iif the//////'. liiit her slay was of hhorl coiitii. nance, uaiJ
We hii\e rcl i]i--td into a slate of iIiLUesS., t\ i.iijrc auii-
iious ilian li e ioiiii'.r. The Hossiuian litany has recuin-
nieuct il, with till- ddlV ience, limvever, thai the Itulii::iu ijt
Ali^eri has been H<lded to the bunU n of the soiii^-.

For a time all went on pretty regularly; the same routine
and peaceful order reigned here as under the roofof Signoe
Rossini. But the longanimity of the most ibrbearilig
public ba« its limit ; ann their iiiii>atience at Iclgtll BMnW
featcd itaeif in no. unet|uivocd murks. The opera was liM
old afBdr of Ii'/<aUm« ia Algerif oa the rising of tba
curtain ia the aeeoad act, idans were heard topioeeed fitoB
every part cf the theatre. These marks of diipieaanre.ao
new to thisliouse, were evidently not directed against the
performers in particular, for they were honestly labouriiig
awa) ill llieir voculiuti; it " .is the ajMiiliy of the mauage-
nieiit, il \sa-s the ibiliic-ss ui ll.e nptrioiri-, lluit dsew
duw II llic'>' testimonies (d" iiisul'.ti! and \ iiidiclis c 'ccijij;.
Wearied at Imglh with the iudiillrence, m.l to Mi\ iuijiu-
deiice, with which tliuy were treated, the ]iulilic lilt <]f-
termiiied no longer 10 endure in silence, but to lAjiicss
aloud its indignation nt ihis scandalous for^citi,l:i< '^s of
w hat was due to it in right ; for when the fuuds of tJic siute
are drawn largely upon lo furuij^ salaries for so many
aoi-ditaiU iuncltonarica» charged with the administraiiua
«r the dcMureBof tiM pddic^ that public has a right Ut
denaad aa aooonat of the name, aad toeompbun toudhf
when cstaUishmentB are suflbred to go to ndn, viddi
either fashion or the power of dt iac tioa adgbt ham
sustained, iu vain did Mtmc lulf doMB daglMU* on Um

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192

THE lUBMOMICQN.

put of Sigiior Rossiui ciulca. our ta silcnrr the o]>|xmi(ion;
the attempt had no oilier elictt tliuti to rrtinulile the hi»i«8,
to prixliice a Uniii lioninr.ii (dt Sii^iior llossiiii himseir ut
the liar of the hou,st% )o answer llic uUegetl causes of

CUU])i1ulut.

There is not a town iu Italy, however omuU, tltsit would
tult rate a company similar to the one which now diag^racefl
ibe Opera-Italien, nor is there nn impmarin wlin would
dare Aoiv his face with impuuity in tiu> niitl-'; i<t ^iich a
State of toul disoigaaiHtioa. No theatre for » lencs of
years past was non th* Ihduon than ttta, aewlMrt
was better conpaay seen, in no tbcain wen plaoat
in greater requimlion. But so indeftt^jabk have bc«
the endeavour) of the present inana^*meat, that ennui and
difs^ist have cho-sed away all the ancient patrons of the
C.sl:»Mi--!imtiit, and left the Loves cnijit) . Sm h a tatc of
ihiiiifs cuniiol last long, nor should \\v :i; nil «i!inlir lo i>ec
this nursery of Italian music do-td uIii)L;i.'i!ii r.

P. S. A rej^ort prevails of Sii^iuir Ro'.-.ini s liitcntimi to
sind ill his resijrnation. Froui uiHilher iju;iru r «f learii,
tfial in order to exculpate hitnMilf from the charj^c of iiidif-
ferenoe to the taste, or, in other words, to the rights of the
public. Signer Boiiini has expressed his detennination
not to touch a finttEiiif of bis salary, till the rtpertoire
shall have been av^gmnitadbjr some doisftof now pieces.
I can only obsonre of tha lattsr raport, thaili if trae, it
would ba a piCNBf of a tyliit of ^BtmstedBM^ Mwsr be-
ftmaaspsetedia thaqnsitarfiaiii iriuchil amas; and is a
anollMrpniof flftlie tenth oftlie old adage, that "wonders
■imr esase.**

'AK AFOLOQY FOR BIONOA B08SINL

Ths firilowing satirical apolo^' for the great Italian
Mmposcr of Uie prasaat day, has lypsand m a French
joonial, wbeaea wa have tnwdsitad III

** In all ages giaat aMB hsm been exposed to the shaAs
of anvy ; the splcndonr of their genias always places them
lb a eonspicuous point of view, and tlie prying eye of
malevolence \t ever wntchl'ul to di'WX>Ter their weak
iiidi'. Where, I would ask, is the snsre. who, once in his
lilV, has not hcen ca<ipht otT his pruani ? Where is tlu-
f;i :!vrid, liinvrN' r skiilul, wlio has not, Konic liini' cr olhcr.
been cioonicfl to receive a check What wonder, then, it
Jlossini haM cxpericnct-d tlu- fiite coioinoii ti> peniiisV
I^ike every other, he is liahle to error; like every other his
proirnosticatjon!! may be (kllaeioua. The dehut of .Madame
Fodor turned out a mere tkm per tent. ! Since the fatal
result of tliis operatioa, the funds of the theatre of which
be has tin diredMa have emerienead a sarimis &II. But
what cfifaet have lem sss of KMrtitna vpoa a mind of snpe-
fior powers? We have seen naoy a v^Mtatioii suinv*
Snore than one defeat.

" Out of reveiiRe for his iinpcrtiivlKihle sana fi-oid, hi«
opponents h;ive iiiadr tlioiii''cl\e-- merry ill the c\]>en.se of
Ms f^-rowiiirr cmh'inixtint, and iiiiU'e iSu.ti i>rdiimry powers
cl Mjipetile. Wliiii ([sen* wniiUl th'V luive liim starve
Jiiniselt into freritcclness of ficpire, nierely to i)ie;tse them ?
Aiiil when, jtniy, was it found, that Rood cheer ua» the
fu-jiiiy of luleiit ? Such a doctrine is, now-a-days, scouted
in Frant*. There is a saying which we should never
for<»*t : Happy are those who Icnow what hunger is ! Yet,
after all, there are those among us. wbor if tilsy bava not
had the gtHMl foitane to tniTTirs thili pnilllmiss la Aoot,
have had the hanricr afiofflDtafaut thsir podats bdibd.
'Vbeie an MaipcnaMioM fa tewotU.

*' Another reproach nfjainst him is, that he sleeps; this;
in their regard, is ' the top and summit of his ofleiidiii'r ;'
this is the theme of tlieir moa* virulent declamations. Jle
i^lecps ! tvell, aiid is not the same thing said every day «f

good Monsieur ; bat bold, la( i~t Irtiipsss tqai

tlie douiaiii of politics.

" After all, how spiteful and maiidous is the qiiiik of Hm
tiniea! Had the public a fieeToica^ and the lii^tneonlnl
the acts of this mbdstar of oar ptsasaras, Hto more thaa
praliable tbatlia woald find some difficulty in obtaining his
biU of {adSBaity. If the higher and lower chnmbe r-s of
the boxes and pit were culled upon to discups his budget,
the votes might not be obtained without dillicully, and even
tljcn it would have to underii^o mure tliiiii one umendmeut.
At least, he wouhl have the address to tn-ut his constituents
with tiial exquisite urltanity which render* his M>ciety so
captivating; he would know how lo seasoa his aasWCta
with that grace and refinement so nattual toUai} andwv
feel no diihculty in guaranteeing', that the argurocata ha
enifiloycd woulil not have bsan sought for in the corps*
de-gonle. No, his eloqnenee wonkl lather hnaflia that
mildness of speech, that honied and iasianaHiig sweelnasiw
that genUe and aadable faialrasss. wUsb BMy be arid
rather to persuade tbaa snbdus^ tadwr to flow as a graoa
than to bear the stamp of a command ; and yet, strange
to say, Sigitor Rossini is not yet afitUateid to the congrega-
tiun tor which he pRrfssassthaUghastestoaM oadtha oMMt

proliinnd respoct !

" iJouhiU's^ there is no aecd of starting tlic old and
liuckuied ohjeclion, that musical inspiration cout'ers no
brevet of tlie uduiiiiistrativc L'^euius ; as if tlie routine of
business Mas incompatible with u lasie for the arts ! Such
eoafined ideas deserve to be ranked with the silly preju>
dices (rf those who are so weak as to imsgine. that in order
to uadaMaBd naval afliUrs, om ongbt to bawe traversed
tlie ooeaa, and visited at least a asaifMrt or toao. It iaae>
knowledged now-a-days, that that onhanal aptMnda wUsh
r.ees eveqf thing by faitailion without IhatsdMna prsamlila
of previous study, that flsxIbOitv wUcbaeeonunodatss ftasif
to labours of the most opposite kind, fonn the characteristic
traits of superior minds. In proof of this how many splendid
examiilci might I not cite! How maii\ iliuniilied lurirtion-
arii's do we not See unbending from llieir s<iious occu-
pations, and courting the Muses! And ifa certain illustrious
personage thinks himself privileged by turns to array
himself in the syninr, to invest the liniw of his chief with
the cap of the grenadier, or hid his melancholy harp re-
soond the song of indiifiTcncr, why should it he interdicted
to the fitvoorite of Polyhymuia to lay at times his hannoi
nioos lyre asMe^ in older to give himself up to important
calenblioM, or to pans fioas hia dssk to his kitdieB, si
oidier toooBspose some Mw sanasi or aaasoB aoae btsclMH
ngout?

" With respect to his dismission, the report of which bso

been so current, — the announcement, to say the least of it,
is immature, reeliiiic as Siguor Hossini does, that Wa
haiKl is sufticii iiils -troiig lo wield as yet for a long
time the mu-icid sceptre, it is not likely that he will l)e
\erv disposed to attdicate. The resignation of the seals
of the ofhcc of tlie pienu'-plaitin is usually not more
vohmtary than that of burdens still more weighty, li nless
things be suddenly changed by ooa of those political
movemenU upon which it is diffioalt to ealcuhite, this in-
dcfatigaUe mhdaler will continue to govern the esspira
of the Ai^'witfa a derotsdness equal to that of his other
brethren in office, whoea obaiinately f s wto la a d rtni i t w^
ing to our hap^iuoask**

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198

OBSERVATIONS OX OERMAN^UDilCL
Jly tl« BtMHCM ie sum.

The Germans ex«?l in iuMnitnental ma'oc ; the knowkilye
it WrnianHs, ami the piitii'inf iire(-'i>iar\' to excciik- it well,
are qiiite iiiitiiral to thetn. S.iitr- ol lln ir i-nniiKi'^ri'- ]ki-
•MB g^reut variety and rruitlulnes.<« of iina^riiKi'inn. lint
Ihna i* one Qibjection which I would make to tl>' ir jrenius
m 1— llriam: they put too much mind into their works;
Hmf nfcct too much oil what they are lioiii^. In the fine
•rta tlitm ahould be mm imtiBOt Unn tho^jfat : ths Gct^
f aBfuwHi Mtor toottriotly llMMiiM^tiM«iMrdi;
tttoteMk thtAllda iB ftgMitMitfatiM itptnion ttf tiieae
■lulswtfMWoniibtMirdiuitlwaniiic, nor, in imA , em
ifc be dtnied, that a diMgreonent batween the nense of the
4M and the exprcswon of the other woittd be offensive ;
bilt the Italians, who nrr tnih tlir inu'iiriiu;^ nf nature,
muke the airutid the words coiilorni to v:ii-h oilier only in n
peiwriil ijiniiror. A- in loinmicfs iiiul li;ill:ii!s there is not
miiili iiiii'~ii , thr liltlo tli;it tln'r<- i-^ ninv lie siiUiffted to the
wdmIt; l,ut ill tl':'.' trr''^it I'lT ( ts <il nu linlv. we slmnhl en-
(lea\our to roucli the s<nil liy uii ininieiliiite .•ieiiwitioii.

Those who arc not luhnirers of pninliii!;, considereti in
itaeli^ attach fn^at importance to the subject of a piettire ;
aktjf aeek, in contempIatin|r it, to feel the inipres,!«io)i« which
«n produced by dramatic repreMolatioK. It ia die Mine
!■ Raped to music: when iu powers are IhM fetMy Mt, w«
«KpM( tbiA it ihoiiid fiutyuUy eoifan to awM WHtelion of
tte «rai4i ; bnt wkM tiM whd« iod b lilRtod by M, e\ erv-
Oii^, aetfi tke imule MmK beeomew importunate, and
dittmete the attantien. PwrMed there be no opposition
between the poetry and the munic, we pve ourM-lvcs ap to
thetert which should always predominate over the re«t ; for
Ike delightful reverie into which it tlnows ii.s annihilates t.W
thoughts which may he expressed by woftls ; nnd niiisii-
awakening; in us the Hentimenl of infinity, e^'erythiiiir w hitd
tends to [inrtitularize the object of melody must nece-sii-
rily diiiuiii-,li . ;!oet.

(tluck, whom the Germans with reason rank amon^
their men of|i:euius of the higher order, knew bow to adapt
hie airx to the words in a wonderful manner, and in <!evenil
tChin opera-* the expreatiiou of the music rivaU that of the
poetry. For instance, when Aletitm has dctemiMd to die
for AdmctiUt end when tliie sMiilieei eeMlly ofhnd to tlie
foda. hesNitafedlMrlMialMytdloliik. the eoataut of the
joyfiiil elie whidi eeMmte the eowlHWto of tke kincr.
«Mtli» alifled groans and lameiMallemaf queem, who
ia eondeiiioed to quit him, hnn a fine tra^enl eflfect. A^in.
Oresten, In the Ip/tiecnie in Tanri'lr. liuule ro -,av : " Se-
rvnity is restored to my noiiI,'' uud the air sunir by |iini is
expressive of litis sentiment, while the accoinpuninuMit is
full of mournful and apitatefl feeliiiij. The inusieiuiis, as-
tunislied nt ilii-; ( oniia-i. end. ;n oiired, in execiilinff it, lo
Kolleu the uucuiii|iaiiiiiieiit, \siieii tiliu k anpn^ily exclaiinetl,
"You iiiiisl not hcark<ii to Orestes; he tells you he is
calm, but lie lies." iVnuiain, in one of his lundscapen, re-
presenting a dance of shepherdesses, intruducefi the tomb
of a young girl, on which is this iaaeriiplkni>-£( m Atm.
di* fgo. There is great depth of Ihaviht In iMiaoda of
tneating the arfa, aad the ■*! aiaowMaD ftitadien" nf
FMiarfn, d«Mrae to iwk «Mi tte aneedoto of CHack
iteve mentioned. But it must not be fonrotten that the
arte an enpeiior to thought ; tlutr langua is colour, form,
4Md B BniL If we cotud form an inagiiuiion o( ilie im-
IMarioaa of which our souls would be susceptible niUioiit
ttekaowledire of wonK we Nhould have a nioea jnlidnof
tilB Act produced by paintin^^ and music.

' Of an n«ak!ians, the one, perhaps, who han shewn most
■itiU in the art of " marrying" the nin ;iL' to the ^^orl^s, i<
Mosart. In his operas, nnd more parliculurly in his Dm
(riiivanni. he makes us sensible of all the •jratlutiolis of dra.
iiialic re[iresi'ii(alioii; the sonars are, at limes, full of life
iinl ir.ic. \, while the strtinjie and loml accompaniment
seeing to point out the laii'.uslic and gloomy •mbject of the
piece, lliiis ingenious alliance of the musician and thA
poet inspire^ a peculiar kind of pleasure; hut it is a pie**
sure which tspriiigs from rrflfdUm, andlMdoennolhdOBg
to the wonderful sphere the arte.

At Vienna I heard the OnmUoH of Hqfda pctCMMad by
four hundred mwidana; it wia an antaitahuMiit wcwdw
to be gi v«t ia hoooar of (he gnat worii whIdi it cekbratoiL
But I may be allowed to remark, that the very mind of
Haydn was sometimes injurious to his talent as a musician*
For instance, at those words of the text. " (lod said, let
there be light, and there was lijiflit," the uceoni|)animent
iit'iho instruinenls was altirst so sort as scarcely to be heard,
when all at once Lhev broke forth together with a terrilile
crush, as if to express the 'iuil<lcn burst oflitrfit. This I'.iixa
occasion to a witty remark, "that at the a|)])eiiruiiee of
light it was iieccsKary to atop one's 6ar<>."

In several other passages of the Creation the snme labour
of mind is dlspcruible rad deserving of censure ; the ntU*
Hie creeps when the serpents are ereuied, and bceomea
lively again with tlie ringing of the birds ; in the .9emmt
also^ the Other gfMiworltflfHafl^, these imitation are
fonnd In Mill greater MNabar. iMtcta thus prepared be^
forekaad, are, with respect to ONMle^ what eniedUi a»e with
relatiaa tofcood writing. TherB ia m» donbt Ixit oartmn
combinatinns ofharroony ntay leinlll d IB of the wonders of
niiUire, hot their analogiei Mnw nothing to do with imitn-
i i'ii, which is no more than a factitious play upon soLind--.
ilu- real re~emh!anee of the fine arts to each other, us well
IS to ualiiri^', drpeiii'sou the seiitiiu; : 'il the same kind
viliii li tht v i xcitc ill our minds by \ariuas incaiis. There is
a very wide dilference in the fine arts betwecu imitation and
expression. It is now pretty generally agreed, I Iwlieve,
that imitative music shoiild lie laid aside ; but two different
opinions exiKt relalixe to exprBaaion : some would &in
have it lo lie in a translation of die words ; others, ami the
Italians are of this namber, are oontentod with a Mwral
relatien between the situattoas of the piece and thetateaCion
of the aire, aadlaok fcr the pliaiirei of the art anlteriy in'
theaKitoeie Tka anrie «f the OeriMnaia awre varied
than that of the TtaUaiis, and, in this respect, perhaps, is
not so good. The mind is condemned to seek variety, and
of this its poserly ispi rli.i;i, tlu' canst*; Ir.i'. t!ic arls, like
sentiment, lia\eaii iidiiuruMc inuiiuloiiN . whie'i oiiu' would
rtiUiiiLfly iwuiceiitrate into one everiasting iiiDiufiit.

(.'hurtli imisic is not sii tine in (ieminnv as in Il.ilf, be-
cause the insinmiriiTi! pan is suli reil tii predominate.
To h;n« who has heard tiie faitied Mis'T'Tc performed nt
Rome by voices only, all instrumental music, not except-
ing tliai of the citapel at Dresden, will iqtpear terrestrial.
ViulinH and irumpKBts lorm part «f tb» o rch e efi a at that
place during diviae serriee, aad oonsequeotly the music haa
iBMhlMiKafa warlike than of a religious diaraeter; the
eoattMt btlwiw tlw lively ■owtiane whidi It aeitaemi
the leoallectteM iltod to the eolf Hy of the temple, fa-
in tlia liidnMt dvaa ikmoiimA: we ahenld not Wag
animated Bib to the fbflt of tin tomb; and military OMie
leads UK to sacrifice existence, not to detach us from H.
The music of ilie chapel at Vienna is deserving of great
praise. Ol all the arts, music is that which the ppoplt' of

Vieuua tuo*t vuiuej this leads us to hope tliat at some

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THE HARlfONICON

MMtdqr Ihcy will alao become poets : it is trne that, at
mmnk, their teste is sonwwbat pnMaic; trntthc hope of
Mtar things is not lost, for wboem radly lorn aniaic fa
aa eallMisiaat. tboflf^ be nay Mit loMiw It, fuid It b io^^
ilUe fbr the mdnd to be open to ell flie aantlmenia imicb
■naie faeels to it, withont catching a portion of inspirmtion.

IVhile at Vienna I heard the Requiem of Mozart, which
Uiouj'h [-,inip<mctl for so ciitFerent a purpow, was sui\>r over
tiw tDiiib of him wlio traced ils Imt notes witli his cxpiriiiir
batitl. It stnick me as not beinif suiraii'iitly solciiin tor the
cct iislon, though, like ull the rcit ot" th*- compn-sitinns of
this niri'-tiT, it abounds with pa'^'iniie" of ^rrcat heauty and
e\pri's?ion. What can be more alfecting and ilnp^essi^ e
lliau the idea of a man of superior genius thux celebnitin<i;
his own obsequies, initpired at tlic some time by the senti-
ment of his death and of his immortality ! The leoolliCtions
•f life ought to decorate the tomb : it is thns we see the
mme of the depetled hero n sp a ii d ed over Ms place of rest ;
and the ehaft d'attma of art cnaae & peenUarly aolamn
hHWi iasion ia the temple where tlie remains of the srtiat are

BARBAJA AMD ROSSINI.

(The following letter, appirontlv dip fir«» of a spries, if we
in»j jmlifc from the mannrr in whi(h it i* hi-.\i\M], Lrttera
frima, wjis tent ui a few d«ya itince through the putt. For the
tnitli of the cmiteDtg we do not pretend to vouch, nor have we
Ifctlsastidsaofthe party from whom it oamesj batwecamot
hilpnmailinf. that Ufa ahigalaily la a ecart a Me with same e^
sarratiom.aMfaaMd to us in oar Foniga Marfed Repaet fbr
Harrhlait.* Wefaty it, without comment, heien ear rsadets,
»<. n s]H < inion of ihitt spirit of intrii;ae> wlrish sppeats te ba
wore active in Italy than ebewhcre.]

Larraa f.

Al l ow nie. Sir. as a dilrtlaiite of rrniHic, !o atlilrpss a few
nt ril ' III you oa tlie causes that have kil to the total de-
dii.c i l i lio opera bulfu in Italy, us well u'- of music in
pcncral. My object is not to string together a few well-
Uirnetl periods. In order to gain the credit of being a man
of letters, but to give you a plain, unvarnished, aod impar-
tfal eoeosoit of certain transactions, which have • more flwB
on iafitienoe over the art and iu p rofes a o w.
Tt» Imfrmar io, Dominlco Barbaja, was the SraC who
tad thesmytothedaeliiMand AD of the imefabnfla in
Knilca, where It had eetabBsheditadonalnfiiragefi, and
claimed the admiration of the whole musical world Tlie
person in question was a great favourite of fortune ; in
Qtber words, he :iiiiris<ed an iinincrisc sum of nioney bv
ki>epiiig u variety of gambliiiff-housfs in Xaples and else-
where. At lost, tlio linppy thoiitrht struck him of formini^
a Htrongc union lietwocii the blind Goddess of his worship
uwt the sacrrd Nine. He took upon himself the manoge-
reenl of the theaire-i at Naples, and enUbliiihed banks for
play in their diJferent saloons. The Teatro San Carlo be-
cwae the sjreat object of attraction to foreigners ; ite aaloon
wm thv tnshionable re.<iort of all those who bad any
(Miner to lose, and it waatha polky of the wary nanager
to increase these attmctiona by dl the neMw ia hb power.

oaly thaataa BOC uadw Ma eootnri was n Teatro
Wwamjmig kaown aatiw great mnaery of the lyric comedy,

• tM UsaBaBiafBk Hneli IN6, aitid* <' Milan," ptg, m.

and which at this (inie possesaed considerable attractions fai
the person of Sigaor Casacello, the most cdebfatcd of the
Neapolitan tq^aad the wpport of the aataUlabment. The
thiw wae' to Baaaeone and boy bim oat, aor wae tMa
fonad a diOcah task. The oonsemienee was, that (he
Tealfo MtOM ftlt toto dinpilB, and by the additional aid
of variooa well-eantilvedpleeeB of ■laBder,becameat length
entirely deserted. Nothing remained but the otlirr opera
h\iffn,Il Tratro de Piornitini, but that beiiifj under the con-
tronl of Si^rnor Uarhrijn, w.ts spcfdily closed, in onler to
cnncnitratc all Ihc attra. tion in Stin Carlo. This done, by
ihi' iiiil f)f Si|;iior Itossiiii, to whom was piven an interest in
the pnxlucts of the tables of the saloon, h scries of grand
ajiil lm[>osing spectacles was produced, which entirely an-
swered the object in view. Ever greedy of novelty, the
Neapolitans, as well as the ho«t of strangens who flocked
to the splendid snare with their purses brimming with b"
reign gold, were denied by splendid scenery, ingeidoue
aiecfaaniam, aoiay amaic, and a baUct of the awatangnU
llflCiitkbid,wr|thanitBeolla»«nIattraetiona. AllwMvfai
raptmvs at the spectacle, bat were observed to come out
from the fksdnating scene with curses in their mouths, for
their pockets were empty. It must not be forgotten, by-
the-by, that the more obscure theatre, (/'7 h'jiido, was all
this time kept open, with .1 moderate compnny. The secret
of this was, that it was found thprc wore ni'.merous adven-
turers of the second ordir, IhhI not the nerve to fac«
llie splendid tables anrl fu^-liioniihU- resort of the saloon of
Han Carln, but who did not hesitate to empty their
pockets fredy into the less obtrusive bank of a second-rate
theatre. TImk n much more in policy than what meets
the vulgar Cjre; and that philosophy which is the result of
a knoinadlge of mankind, of its failings and its weaknesses,
is notahr^ tamed to the benefit of the species': Sunt
locffyaitf rmrtfi /

Bat one lucky day, a sudden and most lanented tenai*
nation was put to these snug doings of the Signer, by a
]iriiliil'itii)ii on llu' (i:irl of Ihi' i,''nvenHjii'nt nf all gjuncs of
hazard. However, iu the midst nf his rntrr :miiI desjj.nir. the
cvcr-uctive mind of the maiuip^er hit uiion an e-ipedient,
\shich. in some deerreo nt leiis*, nii';h( conipc-nsate him for
Ills lnss,_-< mill ili'.:i;i])n\ntiiit'nts. Hut what was this new
specidalion ? A re^'ular traffic in virtuoia, resembling in
neariy every respect tlie now happily-aboKshed slave-trade.
In order to accomplish this, it was necessary to extend the
limits of bis theatrical dominion beyond the boundary of
Naples, and embrace a wider sphere of action. Aoeord-
ingiy, people bdidd him with wonder assumiitt in aue-
cemion the pompons title of Imfumar io of Naplt^
Rome, Venice, Milan, Vienna, Pkris; other theatres alHI
awaiting his sovereign will and pleasure. In each of
these be has his agents, creatures who faithfully piny into
his IimimIs. and second hi» ili -iLTiiio r po!irv. Tlic [)lan
is to niijaf^c singers, and thru evt huiifjc them from j>(acc
t" place, all! I pir-s thcin from hand to hand, ana 'r'l 1 ii(; as the
evigencies or iht- caprice of the moment may sct ni (o war-
rant. For inst;uK<", nt \ ienna you have a gtuHl d incor, and
at Naples a cpood sinjjer ; but the want of the singer is
.sudilenly felt, or su])posed to be felt, at Vienna, and rfce
rerta of the dancer. Well, make an exchange; never
mind the lady or the gentleman's vocifermis remon.stTanee%
that it is unaliaiy to the terms of the contract ; stidc to yxmr
argument ttwtthe managemtcnt engaged him or her ibr ha
geneial mrAett utd that that manwenent eitenda fioai
Paris to Vienna, and ham Vienna to Naples — stid: to ihbi.
and pack the complainant off* with a silencing threat of a
breach of contract on his or her part, and we inevitable

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195

toumqcmet* of die nne. After all, Hmn b nodrinR so

very extraonlinary in this kind of traffic ; do we not 8e«
the peasants of Italy exchanpnjp a horse for a cow, a sheep
for II u niulc for iiti as", ami so on? However, were
things limited to a mere cxthanrre it would not l>e so had,
but what shall we sny hurtu fidf h-irj^rnns made of singers
to brother imprmnr; For instance, it is u known fact,
that Hail ujii s<ild llic cclibruti-d Icnor HuLini for u whole
autumn to aignor Cartoni, imprenario of the theatre at
Genoa; and it is within my personal knowledge that
oaly last year he disposed of a whole company for a stipu-
fatod Mun to the imprettario ut Milan, and that the com-
pany w disposrd of waa oblind, in apite of all ita remoo-
fltiwieea, to pcrfimn a certam mtolKr of nights at the
9%flfr«iWJBinHilaa. the ame M tiw 2Vatr» Forfeeat
Vetdoc^udlbrafewnigfataalaoatVfaaiin. UnmUke.
viaelMaid fiom persons of the highest mpedaifailttv, that the
tnmr DoBxelH, now in Paris, was eKchanp^ed for the dancer
Albert, and Ihut this pave rise to so Ht rioiis n misiindor-
tstanding between Rossini and Darlmja, that the latter was
aidially obliged to hurry off to Paris, in onler to make his
peace with the irritated yfafs/m. We have beoii assurwl
that, while at Paris, he intrigued with the directors of the
Aradi'mie Royale de Muxique, in order to get them to ac-
cc[>t Ills singer David in exchange for Paul the dancer, but
without success, as these gentlemen's oonaciencea were
really startled at the proposal, not having yet teamed the
Mcret of this scandalous tiafie. In a word, it is known
fhat at this moment there cdals m private contract between
Bulina and Roasini. to eagM all the artists of merit of
•my Bind, that, bj meana or mcb • mmopoly, they may
lay nnder eontribiitiaB aD Ifaa tbcatiieal dlreoUoos of
Ennpa, a* wdl loyal aa noUc, dietaOv Ihair taaia for
Mfata, fai the aaoae manner as they recently dkt fbr Ood-
sdK in Paris. The latter transaction was of a two-fold
nature, and dcsencs to be recorded as a sinpdar in.stuiicc
of intrigue and ellronlery. Not only did Darlmja, by the
aidof Signor Rossini, ohiuin from the royal administration
a sum fbr the services (jt I )( III zelli ; but also a further sum of
50,0(K)f., )ij way 1)1 till!' lor liis liii>iii:r Ijrokrn liis ri)rrar;;c-
ment, in the fust instaiicf, with Hurbaju. And here we must
not fcirirct to mention, that Harbuja w as afterwards forced, in
consequence of the stir made at Naples for the loss of Don-
sdU, to engage the tenors BInaghi t(jr two tnontha, Dertozzi
for six, and Winter for eleven, in order to complete the
tenn of I>ouielU's engagement thevb BM I1m»i it must
■at be ftMfotlM^ that thcaalhnalamn pot iMalhar did
•at coat Barii^jalhelMircirthaftdU whldi he ncM ia
Aria. iBAiratdtifapkiiown aadacandalaaaaliBflche
p afi aitlad «o go OBndtn Impuidty, If dwdHhrentdMatrieal
directors, noble and others, do not make a eimmulantial
report to their respectiTe governments, in order that mea-
sures may be taken to put down so strange and monstrous
a monopoly, we shall soon sec the flying company of this
scheming impresario overspread the whole ot the theatres
of Ilftlv. a.s well as elsewhere; we shall see niir poor
MaiHtn fli ((tpclla with their arms folded in hopeless inac-
tivity, the interests of music ruined for ever, uod every
theatrical undertaking, save tfaaae of ttia daring awMpe>
liaer, reduced to bankruptcy.

I am promiaed, from quarters where every depcadance
nay be placed, all the parliculara relative to the said com-
pact made between Roaaiai and Baifai\}a; thenKunent I obtain
than I will liaaaoit tb«n to your vahiabla jonmal, which
l lai i lw lf afc t ii aul a» mmk oodH, tad abownttaalf worthy
«f lha mmMimo of die public, by aspaafaiff infamy, and
hariaf thaba«k of TUkny to the laah of the public scorn.

It is of more impoTtanc« to virtnoal, to theatrical establish-
ments, and, in a word, to the art in general, to be made
Bc<{u»inte«l with the machinations of such men, thnn ai tirst
ap|>ears, and, therefore, I shall watch their mouoiis w ;tha
jcahms and Visjiluut eye. I shall also have occasion to
speak ot the noisy mwic of our time, which has not only
ruined the voices of many young and pron)isins: ]>erfonn-
ers, 1ml has been destructive of melody, and f>l diir simply
beautiful scliool, no less than of the harmony of a language
which nature fanned for music. Exhausted as this subject
may appear to be, pcfiiapa aaotw the particulars I shall
have to commonkate, •one nay Sa tami now aad IntO'
resting.

Itm, Ac. fte.
- Oiogo, JvmtSn, IflML . O. D. F.

WEBBR'8 UFB OF AN AIOiaT.

To tht Editor of the H armonicow.

Sib, Dresden, Aus^mt 22, 1826.

You have taken so lively an interest in whatever con-
cerned M. von Welier and his productitms, that I am
willing to snppoae that the following infonnation will be
pleasing to you paiinnalj. aa well as to your readers, if
you think it worthy of « ootMr in yonr woric.

It ought to bo OBflco gananlh liMnni than it ii^ thai
M. voo Weber edtivafcd tlM baOaa Icttna with no little
aidou^andoAaiiaatUaoinivnMaleaMHle. Iha gw a t a r
part of Ihaaa an dispened} aBdaaMngathiapaptfabiitn
single work of any inqpottaneo haa baaa Annd; k ia an*
tiUed The Lift of on Aitid : in this the author of the
Frrischrilz relates the particulars of his own life, and
mingles in his narration many curious and critical obser-
vatinns on celebrated musicians and their works.

The representatives of M. von Weber intend to publish
this walk fbrttawith.

I am, Sir, &c., &c.

J. W. P.

FEBFOBMANCB AT WABE.

(Amso Cbm^pMafaiAj

Wabb, Srpl. IIM, IB3«.
Wr. have this month to congratulate our readers upon the
institution of a musical festival in Ilerttbnlshire. The first
mcelinjj was held at Ware in that county, on tlie 30th ult,
and wan crowned with all the success that the ino'-t san-
•fuine hopes ol the proieclors ot it could lm\ e anticipated,
both as repiird'- the ninnner in which it went ott, and the
particular end (a charitable object) it had in view. Tlic
committee of management, resolving to make it worthy of
the high patronage with which it wa« honoured, and llie at-
tention nf the public at large, engaged some of the mosi
iSstinguished vocalists of the day: viz., Mr. Bruliam, Misa
Stephens, Mr. Bellamy, &c., a-s well as many eminent in»
(itnuDcntal peifonncn ; Mr. F. Cramer aa leader, Meam.
Morall. ]l.AaUay.LiBdlay.W.Li»ll9. NicHUUl. Mon-
lani, Jun., Harper, Iftvtatti, Janklaaaa, An. Aa. Itobanl
waa not large, but it «il In tNB that It Indndid tha «»■

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td6

THE HABMOKIOdir.

of ooasi.

I. MklAippino, a rdane
deraMe merit, the organist of Wwa dhiwciii
otgan iu a highly-eredtebU
Jnai bean eoi^UlMl by HdMpk «l» iMMr yMdi to
his art.

The fir!«t act of tlic performance consiittcd of selecUona
firoiii the Mi-<>iiah, nii<) opened with " C<mifort ye my peo-
J)U'," li\ Hiiili:»iii, ill his u^iKil style ot cxcfllrm-f ; it will,
hi>wi-\ir, Ih' i!ii (iiKij.-irafrcment to that (jn at sintccr Iti say,
ttiiit ill this jfiirlitubr soiij^ wc rather prefer \ aufrhaii's
jrtylc; we kiiuw tliere urt* ninny who tlillVr from us hut w e
speak a8 we think. His " Deeper and deeper still " was
splendid and majestic be jond description ; indeed it is impoa-
eii^e to listen to the high-vrrou|^l feeling and deep pillios
which tkia itdlativeia calculated to display, without experi-
CDangtbestrongaatcmotions. The solenui energy with which
lie wmag Luther's Hymn (» aliikiiig atoid at what can be
«flkted by liiniple nwlody), aeeoapHMd as h was by Uar-
p«r,— the. nolM of whose tninptt en aeercely be oom-
pared to anything earthly — absohitdy eleetiKM llie
audience, ond he wa.s rctjueAted to repeat it. We hm
mid more concerning this celebrated singer, because he
cannot inun^ '>< iir> h>ii:rcr ctmliuiic to (UOiplit iiiul !i^l>iii:-h
lis, and iiic ptTiixl of hiri retirement will be a mouniful one
Ibr the lovers of eloqiMBt MHie. WflMII iW hi fOU who
8hnll lill the void* ?

Miss Stephens ftilly fiiLHtaincd the hijfh charar tf r she h:is
Jong held in the musical world ; her "Let Uie bright Sera-
phim " wa-s indeed delightfld, and, but §or the very great
exertion it requires •^he would have beau urged to repeat it.
Mr. Bellnmy nccjuitted himself with Us acctutomed skill :
he Rang "'Behold I tell you a myatery" adiakably.
Ijindley, whose execution oo the violonoello ia narivaUad,
indulgfld uB with «m of bb nuaterly parionuuMca^ and
kad not deoontmpToMUled audi umniiholitioo ofletlfaiff
in a obuvdi. It would doubtless have received that tribute
of applause which it deserved. Mr. P. Cramer opened the
recond act charminirly, with a grtind violin concerto of
Handel. We cannot conclude our remarks without say-
ing, that liic chiiriisses were as peHect and as elleLlive as
wc ever heard lliem ; a fuc-t, the more crcditaUle to all the
parties concerned, inusnmth u-i they had not the ndvantntje
of a previous general rehearsal. May this festival become

• The rax\j iwfiod of Kfe at wttieh Mr. BialiMa eemaw M eJ hb

proretsional career — about leveiileea or e^hteen — and coniequiintly
till- nunilier of rcstri that he ha> been before the |>ubhc, lead many
t ■ Mi| |ioso illut ho u a »< \nt-enof ian at Ipa»t. If we ure not much
u.i»Uil.iMi, l,e i> not yet r'Uilli 'l d' liu- hnnoum of hslt ii ciTilviry ;
ttieiefoce no alarm tuned be tounded of anjr invoiunlar; reliremeot
ibralMwiiNMleeaoN. Uaniaao died of aa acuta diseaaswhea he
lad, Mlwlia**, arnnd aia^. Md ha aai« wiA Mdiaitabhaa ap-
plaoae the waton pncediitx iiisdailk Ue aaver poaseMed much
loner, but wimt he tad contiaiied aadiatedto tlw mo m innmrni of
Jii» pnhiic life. Si;. Ciivelli is the principal tenor at M.Kiri, \ ( nice,
jndFIorince, at ihr thvatm of which he linp al'i iTi.iti^ v witli
great applauM.-, though thia excaUent perfonnet u actually verKiDi;
enihaiMtiadwUrii Dm pHlHiit«iaaai«ha Mailer auut life!
Some or Bmbam'a aaalm arc aaw caaslaati* aad Mtceeufully per-

fortnin?: nnd if we look to the ila|;e> «<■ «' nil >nc at lrn»t one
lii^blr i.nd jtistiv talocd actor ia the jjeniiu If y. •>■,:■! arA fiiii.ur,
«howa?n man «h'-niln? oilier wb< in hishuvhivoH. Lclu'not then
iMr^n lo iinliciiote lliu Ium of Mr. Ur.ili.iTn ; liial he may viiiiidiaw
llinueU m urJcr to cnjuj ihv finiu of biaiDdottr} ,aiid lo devote him-
self lo an increaiing family, ia iXMaibie; but there ii no apparcat
dai\gcT ol Ilia GOinpuliOry letittiHBI far year* lo come.— (£<{i'or.)

Taa Masses op Hatdn, &c. &e. (Gafloway, Sl« tPigmn*
[OmefadMl frvm No. XUV.] '

Wi iwuM our miiea of this iiD]iaftaBt inibUoatioB, ea

the first half of wliidi we bestowed so much more space,
in the number befi>re last, than we had conleroplatcd. that

wc can only add a hummaiy uccomil of the reriuiiinler in
our present pages. Not, lei un be miderstood. tliat ll,e
work is undeserving of fur more room tJiun vie ;;!toj;tlher
allot to it, and of a iiuuh more <Ietaile(l rejiort than we
make, 1ml for the reasons iliat vte have all eaci y, as'-igncd.

Wc broke oti ut tlie seventh muss. The eighth, in B
flat, i:i a short one for the miui i festivals. Urief as lUia
is, it lias many beauties, the adagio, E( i/icama/iae<paiw
ticularly : but the Bcnedictva, a treble &olo^ ii much ia
the styles luvlng all the nmiiingi flond acoompaidiiMnl* of
an opera aur.

Noi. 0, ia c, open hi a veiy MoDe maBnert and Ih*
Ghiia bnala out in a powcrnJ, trfumphaat, alnia^
aimoat in dmdk counterpoint. TheQMilotfu. in e mbiaih
is charming. Tlie Quomom, a aolo Ibr a soprano, abonnds
so much in di visions, that it it* more like a vocal exercise than
a solemn ncknovvledjreinent of tlie altribute* of (he ddty.
The El iiiiiirimtiis is a line iiiov eiiielit ; wc wish tlial the
editor hud iu tliis corrected uu error in ipiaiitity ; incar^
mlm Is aboniniUc^ Itct eveij deoMit ptoao<Uat liiiK il
tlius:

Shortly aAcr, wc find jx'cwta. There are otiier fauha of •
similar nature in the various masties, every one of winch
miiihi be amended by the simplest menus ; and such cor-
reciions ought to have Ik-cu made throujrliout. We can
easily believe that Mr. NoveUo's delieiicv prevented his
dohig this; but uu editor, l)y means of slight alterations,
i» improving, is reseniuj: liom censure, an author who has
been guilty of aucb manifcHt oversight.^; for such they de-
oldedfy mn, and not like the arlntrary accenU adopted b^
some of oar best poets, Milton especially, which, being;
evidently intentlaawt are very properly left untouched.

The tenth to • nan, the aun of wliich is grandeur ; H
begino in o nfaior, miuta, then opens into a eplcadid
Gto^ In wMeh an aoow flu* afltelih piodwMd by ainpl*
means. In the fbttowtng moveauot, the traMUon Iran
p major to r minor, at the words cnic(/inu etfen, ia jodii-
cious and pathetic, and the return to the major at <f renrw
rf-nV is ill a IiIljIiK nppropriate strain of rejoicing. The
A^nu* Dri is :i iiieindious (luartel, udagio, and liniaheB the
composition in -i L^ra^e, iinpre--'-ive manner.

No. 11 is another minaa linri*. whieli sets out with a
galloping Kyrie. The Benediciun is a pretty duel, iu a
tiimiliar style, rrinniug either in thirds or sixths, for two
sopranos. As to the rest, it is Uttle deserving of notice.

The twelfUi, in e flat, begms with a fugue of two »ub-
jeots, which is not of long continuance, nor is it very efiec-
tive. The words CNena m eivebw Deo, arc, of course*
by dwaikit in tba present maaa, but of thU we
IHmatlnn wMch ^ — i-^"* ^

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TfflB HARMONICOK,

197

ImVpOA The Graliat ia a charmingly melodious com-
portion. The In gloria Dti yalrit is BWcU-workcd fuffue,
and Ac Et incarualus finely expressive. The BaiedicluM
is full of Uiat which is the cbsnn of maaie, melody, but it
liM a ma«t florid ■«'i>P!pnitfiiifirti

The thirteenth, in o, eommenceii ondanle^ Unte^ur
time, wilhout <Ugiiity. and with a mcludy rather alwund-
iqg ia coaBmoa w d wi cw. Usjdii has exerted less of his
nm in lfa» mass than in any that «• have examined.
No. Ilk in D, opens in the grand style, and ^eerns to
k ibr mercies in a proud cfairalric spirit. CfuhO-
iinduct of vast merit, for two 1 ;is'.ea ; aftor which
the Kyrie is repealetl, but allc-^ro, uiui in two-four time.
The Cloriet, full of aniniatioti, ;uid admiruMy kojU up.
Dutniiie Dtiit is a fine base miIo ; a passage htfriniiiiig'
at the fifth har must l>e channinsf in the hand.s ot a c<iin-
pctcnl ]>iTrormer. The niovetm-iil qtnminm is a kind of
hniMira (ur u tenor voice! We can imagine nothiiiif in
the nmsicai way more preposterous than micU notes ap-
pHed to such word.^.

No. 16t in c, introduces itself in an dabotale Kyrie.
filratioi tgimut libi is a very sweet air, in a sober &tylc,
ftr n Mpraao. Urn mun aSker am Saneh SplrUm a a.
fetj dent figat of two subjects, lb* CVedle resembles
■uny oUwia in Ma eoHection : Hernh eeeaa to have had
lot MM idea ae to the opcninjc of this oonftssion of faith.
A inatrnattiM «/, a solo for a tenor, is a well-expressed,
most plcsidn^ Inrgw ; the choru* into which it pustses at
the word Cnici/iii/% is in the lie^t tiimini r ol this mailer.
Alter this are two clever fu;rat movenients, and the f>-!r<a
nobii pactm, which tci tiiinates the mass, in the niO'^t clubo-
rate fu^e in the whole col lection, much in the Htuidel
style; that is to ki), in iIil | rrvailing ll]d« of tlM dlj in
which that preat master flourished.

VVe nou cume to the hi^t r.f these cotnpositions, whIch
Ls in n flat, commencing with an adagio, and in a very
solemn, devotional strain. The alto here, Ijy the wav, is
made to ascend to ci, three ledger linea alxm the clef !—
where could Haydn have foanl eoell n Voice? or, having
found one of such extraordinary compaai^ wlise and when
could he expect that ila ptnOd -wni to be met with?—
Hm Kftit ia np«Md in • lahowHl, ndaiiable fi^e^
allegro, and ends in the repetition of the adagio. The
CMwia is exceedingly brilliant. The Gratia* a pleading
tnoreinent, on an airy enibject, repeated In !«uccession hy
the four voices: the Qui tcUh of rich nnHiulation : the
Quoniam brilliant, ending; wiili u short amen hi-rue. The
El iitcariialiis nf, in n flat minor, is a fine specimen of lliis
mnstcr'i ])o«cr in producing; effect; the rich modtilalion,
ttiL- 'ii'-t: iiK'i! vm il notes, ntid wcll-judjTed mo\injT ucconi-
pnninieut, (■'■mbine to render it the most awhdly-strtking
nioTement that any one of these masses presents. The
Bentdictus u a dclifrhtfui (juartet in a, extended to n con-
eiderahlo lenarth. The Agnu* Dei opens with a most grand
cBict in octaves, hut the Dona nohU coda the compoaalion
ina M)!iictWiui lij^hi niannok the rappUcatoiy aatore of the
words betqg cootidcred.

Xi«4 it not be nippoacd that, in expressing our disap-
pnival of the style in which some of the movements in
many of these maHses is composed, we intend to 1 1 o ui c
llie composer; tJic liiult is not his, but of the a^e in
srbich he wrote ; he i.s no more to bluine for the octa-
sionul levity — or what appears as such in our eyes— of
his manner, than Tallis nud 1Jm<1i are fi-r the unbending
acveriiy^and unvarying gloomiucsti of theirs ; each wasia-

ivarying gu
iftevaffliif

Mtioasnf Ui timMb aoA diiicr

had not the oouragc or tht indiaitioa to ibmard anythioe
in the sha|w of innavation,

Mr. Nofdlo^s amnBamentiir ^ masseR is entitled
to every praise that we can bestow. We baxc m. fn--
quenUy dedarcd oiv opinion of his qualifications, iluu it
would be almost nauseow to add anflthw word on fhn
subject In this place.

This Ls a work which every musician of good profos-
sional education, end of enlargetl views, nuglit to i)os«ess.
T<i the amateur whose knouledj^e of the art is deeply
prroundcd, it can liardly prove less voluablei and to tba
hitter the price of a pouicaiioB of eudi mignitnde will be
less of an objection.

1. AiiusKMBaT jWHr /« Pj4.vi».FuaTB e< Yietoir, jwr J.R.
IIuMMEi, (Awftt 108. (W^ and Hawc% Ui, Btgutt
Stntt.

S. ^ Jfsw BanuAar RoiiDe/«r the Pu xo-FoaxB, &y <ii«
•Me. Op. 109. {PmUbktd by tkt Mme.)

The first of these was composed by M. Hommd during
his stay in Paris, for the Duchess de Berry ; itkbtkcw*
fore, much less elaborate than the genenl run of Us pro*
ductions, and is by no means dUKcult fbr the larg* daaa of
t4akrabl« proficients. This is in fact a wnnta, but SOth
now (horou(;h]y exploded, and atnusrmi'nt or divef
timento reigns instead. It consists of three regular move-
ments ; the first, in P minor, is fidl of character, and em-
botlies some cxcelh ul ]nc tio"-- ; the scr-o;<d, a romniice in
P major, is exjiressive, nii<l shov. much ta'-te ; the tintile,
in llic mujiir, is M'ritten on a snlijirt tlint cirlajily wanl-i
trrshness, but it is lively. Tlie accompaniment is tUinast,
ii not qail% oM%ato hi Hiia pieecb mmI nUa nmck to ito

etfect.

No. 2 \i a composition of a much higher class; (be
key B minor. The design is excellent, and the subject to
supported through a dozen pages with atUnirable um il^
protlucing a result which, to scientific hearers, will be vera
gratifying. But it is addressed to such aiulitors only— ft
will prove "caviaro to the general «" and as only •
chuseu few will Sstcn to it mth wJug^Merf pleasure, so
only about the same number and description of persons
should attempt to perform it ; though as a study w e may
recommend it to all who arc emulous of bctiiuihi:: t;,it:
piano-fbrto players, and of acquiring a taste fur uiujiicrly

1. Lp« Cli.irnicB dr l Aii :'!' , / '. i JMf (/f Bkktiiovk.n, l arlipnur
U I'iano-Fohtb, liar C. Czkbnv. Op. 55. ((^ieiuenli and
Co., CheaptitU.)

8. " Rohia Adair," Ain, tvA4 Vanianona fir tU Pias*.
Peat-n. isai p es i.rf *y J. P. Pins. Op. ST. (PaMHistfAy
the Mme,tmdby Cramer iinJ f.i., SOI, Rfittnt Strrtt.)

The besntlful can/oml of nrrlhovdi. Dot ch'r/c drr
Frrund.^i hiijl, cho-cul.y M. Ca riiv, is cNr. rdiiifriy (lowing
and melndidus, aii'l he has \r\\i:\\ it (irst in the compoiser's
own notes*; indeed of the .six variations «hich he luBI
written on it, live, though sufficiently diflieulf, are very
practicable, rational, and pleasing; but in the tfxth. ha
bus Indtdired his naturnl propensity for mpid, swcepingf
passaires, for mingled fingers, wide extensions, and nm^
leaps. A great portion, however, of the latter may bn
curtailed — a pracoes iriiich, in audi eama, the ndrait tailt
oftcB hM«iw(NttM to— «nd(lwramaiadar«ill hewoitli

• Thi» air, wiOi
if {oshUb, spi>««i in

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198

THE HARMONICOK.

puMHaiiig. Bttt fts ui enifdMi

aw 1m mdered usefiiL .
BoMdien's Opera, £«

Seotinh wra popolM- 00 dtt oaotiBMt; amoiiMt Oe fMt
" Roltin Adair." whiA Mr. Bnham levircd hare a iev

years uro, and straightway everybody fell to sin^nfr, danc-
ing, fiddliii-r, pipinp, and thrunimitip: it, till satiety supcr-
veiiwl ami i:iiii(lcMniif<l it tu the iiitc of a!! \it\ !;i\<)iirite
mclodici, uhicli is, to be laid aside and I'orirnlleu ; tor a
(iiiir at least. The present pubHcaiioii dt" M. Pixis is not
likciy to call it from iu retreat, or. \vc oM!!;lit perliap-s, rather
to say, to bring: H a^^ain into geiiertil notice, tor he has, in his
mode' of treating the air, consulted only the talents of such
extraordinary players as the noble lady to whom it is de<li-
Cttad, the Duchess of Hamilton ; to the vast mujority of
aera it will lie absolutely useless. Still, however,
«e muat do the wUhht tbe juitice to w| that he has shown

" 1 up some

auUxHT the juitice to wy tiu
•bOity in perlecf hiswoife. end dMt helus
nod modiilailiaiiiB ■odnaiMM with
It b compowd Air ftdl oitihealnl <

but

which are pnidcntly Buppresaed in this^ edition. Tb»
pubUalien deMrre some credit for tlicir dinnABatedien
b bsTiiv priatad thue nmdt of it.

]. " Tl:c Strcamirt ;" comjiOMrd by Siiibld ; nrrang^il, irilk

Variali vtif, fur tht. I'l A.No-FoRTB, Ay Fkrd. Kikb. Op.

118. No. 3. (fk'iucuti aad Co., ChrapiiiU.J
Si " When »liall wc three meet ag^uin ?" Compoied ig W.

HoRSLST; arrangeii a$o Rondu, icitA an IntradestOljPrc-

huia, AylAaMiw. (Tka ttm PuUitlttnO
S. DtTMTtM«iiTO fir lieTlAwe^Rn. wM m Aeeaoqia-

afaeenl fir Me Flute (ad. lib.), or tAe leeM ** ho eenoKo,"

folVb&ldo ed Ttulina; e«mpe$ed by Pio Cianchbttini.

Op. H. (T/ie sarnc PublUhert.J

lit. Ribs, in the first of the above, ha.s talien one of thc
noot beautifid airs that the En^ish school CBndeini as its
own, and added five variations to it, which pi e se i re the cha-
racter of tJie melody, and cxlcnd ii in a pleesin(f manner.
Tlieae all lie wdi under tlie hand ; and, tlie compooBr'e
vnul iMBMr of wiitiBC bcin^ ooasidcred« nay be leoon-
mended to youiK peifiMmen— Mt wdwdloy otbeia — n»
•emr and affrecoUe.

The air. No. 2, is qdle unknown to ns'; and poaseasioiff
no strildng feature, the Rondo itaeif cont^ns no very re-
markable point. It is a deprec less easy than the fiirego-
ing, and ha.s a short introduction, upon wliich Mr. Riei> lias
not iiestowed mudi thouc:hi.

Mr. Plo Cianclipttiiii's conversion dt Murljicchi's ro-
mance into a divcrtinirnto is crcdituli!*' to liis jiiiln-riicnt,
for he has pre^^c^^•ed as much of the original air and ac-
companiment as possible ; iikdeed, he has added very
little ; Imt of tliia little we wi»h that he had spared us
the nunhliB^ df wiwiiipMvr m in the lieaeb wUn, wiier^
ever they occur, overpower tlw melody.

1. Erin's Legacy, a DlTnftMSiiTO fir tJu PiAMO^Foare,
/bHadWea lafaaritc Msb Afars ; eampo$ed hg T. A. Raw-
uaM. Mo. 4. (Latniir, 60, Nete Bond Strttt.)
9. " Duncan Gray," a Se«tek Air, arrangtd at « Rox»o/or

' Me PiAX»>FimTi» ««T. Vaumnm. fTfte mum Pub-

lither.J

$. " Coorin' Ihro' the rrc" a Scotch Air, ai' lMj w l wi'M V»>
ihtiiHw/«w M« PtANO-Foaxs. ig Ms mm. . (Tk$

well calculated for the purpoRe, and of which he has i
the mosL This is iiiU of cpirit, — animated from the lint;
to dit hat nol^ and suited to a huge dideofi

unrartby the aotiee of the best, and whhbi
of QMMk At pert of what nm 1

nary, Tke (kina, a tender air, n

neoonpi
eaprduai-

ni a very expressive manner.

No. 2 is an e.asy arrantfement, in five pages, of an air
that i.s sprifflilly and, tit for the purpose to which Mr. \'a-
lentine has applied it.

No. 3 has five variatinn^, in tlie usiia! roiituie. adjoined
to it. Tlie last, the coinjid'-i r tells us, is n/l<i SrrjzzcK:
was he not aware that the air itself is Scotch, and there-
fore that whatever really emaMtCafiNmttl
be in tlie Scotisb manner?

1. iNTRonT Triov /.r r'." PiANo-FoRTR, find Jl.vnni fimt
lioagi.Ni's Ricciarilu c Zijraidc ; eompoted bg Mrs. MlUM«
(Gouldiny aad jyAInwine, Soho SquartJ
ft "Anyeoanfry.BMlharr ^foAladdia; weyieserf bg

• Bishop ; errsn^ wM Terktiew fir Me Pram>PoaTB,
ty Edward Kniuiit. (The tame PuUithtrt,}

Mbs.Milbs has produced a veiy clever, brilliant piece, from
the cfaaracteri»lic manh kkBueelmioi she lias diveraified.

it with jreat judflmant, and Ihw extended it to a eoasi*
dcraUe teiwA wiUiogtlta boBOmfa« tadhNti; nd whOe it
is full of showy peissfei, theie Is nothing, in any one
pa^ that need deter a toiknUe petfcnnsr fimn taldn(f it
op. As to the originality of these passages we can have
little to say ; this is a quality becoming inure and iiior«
scarce daily.

Tlicre is a poml deal of laudable enterprise in Mr.
Knipht's \uriutious ; die uiie\]K ijled chaii^tcs of key show
at least u desire to thrrm olV ihe trunimels to wliieli arran-
(jers luive uiiliiiirlv Mil)niitled, sonietinios Ironi indulenee,
but most commonly from Manl of ideas. This short piece is
very justly entitled to notice, on neooont of n OCMin air of •
novelQ expanded over it.

of Mr. RawHngs's Hibernian divert!-
k fboncd of Plnu^ Connor, an air cxctedin^y

1. Sei.kct .\in!i//^pi WiXTsa'n Unterbrochene Opfn IVst, nr
Le Sacrifice iucerrompu, arrangni for tkt: Pi.\ko-Koiitb,
wfM an ace^mpanimtnt for the Flutb, ad lib., 6y J. P.
BuaaoWBS. in Four Baokt. (Paine and UopldBS, 6S,

t. OTnnTiHU,nteiiilhhi fnhaielisi ni»anfidyhrllePiAno»

FoRTB, wirJi aeesaijNmfinratr/br VIolItt, FTute, sad Vio*

loncdlii, Ay J- Hinisif.l.. ('linoBcy C,i.. /hMf Sh ert.)
3. Favooitb Air* from Wintbr's Oprra, the Interrupted
SacriBee, ySir M« Piano-Forts, trieA an occoN/MntWnl
fir Me Fi-oTR, (ad lib^) bg 8. F. Rih»aui.t. Book 1.
(Cocks and Oe,, F><ees» StrMt, Bk im t r S^mart.}

Mr. Bt'RROWES in his four liddlvs h:l^ iuctudiMl nrnrly the
whole of Winter's opera, iiud what he has discarded will
never be niis'.fd, save luid exei'iit (lie overtime wfaidt ix
mtich waiite<l to complete the publication.

The primary object that Mr. B. seems to have in view in
his arrangements, is focility, without which they would ob-
tain but a limited drcnlation : he adapts tbem fiir the neny,
therefore eaactfanca mcrifices effect to the nam papdar

a, eaee, Sudt b the case in the pienini inatnooej
noceo •ppannl hew aa inhkamngmenleofdw
operas of Moiart. We nMHtfon Hib, not iatendfaf to en-
sure the practice in publications got up quickly, to answer n
temporary puipoee, for, wf hacdly need mm, Iboae wli»

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THE HABMCINICXnV.

199

wiih to hare the rndtkud* aa jmOmm aurat necawMtty
caladirta^fkalitiqMt.llkcly to nit (he generality. This
fedngaDowad Sir, wa ham m dUkulty in saying that the
piCMut link certainly put* ViRtn^a cdcbirt^
STiry pl e arin g ibrm tor the piano-finrte.

The overture to the some opera, Xo. 2, is urruuged by
llummel in a more iiululffcut manner to the jn'rlonner tlian
U 11 , mil with him : indeed the accompuiiments are so lua-
liaired as to relieve the ])iani.st from some diffinilties ; of
which, however, there are scartoly any of a fonuiduhlc kind
in thin c(impn<iition, as our rcjiders may have observed in
our last number. M. Huninicl has preserved the chief eha-
racterirtic of the overture, brilliancy, and converted it into
an ogTvcablc quartet ; but the publishers have put a price
upon it that, in our opinioii, wul opaiale on ita aale aome-
aing in the nnamr or Oioae iaoal dniies that are intCDdcd
asjmhibitory.

TIbb &8t book of Mr. Rimbault's adaptation of the aame
•pern cnitaiBafMtr pieoaa, and )unai|0tth«aa bthe fkvmir-
ila qpartHta* natter of codhfc Uiadwiet of the other
ttn«iaMitqnitoiote|i|i3r. Tlw avoMliig of labour
io hnva Immb fln diafMoi of lUa ttntif&utBtt botli as re-
iBid» Uw adaptarawf paiftfamr.

J. Tlie Oroan Sbrvics of the united Clmrch of EngUnd
«n<IIreUiid, eomprUinga firil anil latt Vuluotary, veith a
ad*ctio» «f Piala% Chaati, Preladei. mnd Interludea, c««-
' jMwrf amd mfrmngmt J. BtnriTT. No. L (Clemenlt

and Co., 80, Chr«p$iJe.)

t. Antiibm, " The God of aiory," the trorJt /row Dr.
■Watts, comyoied, wil/i an in'c-mpamment for the Or^an,
or Piano>Forte, iff Joaapu Muaaiai Organic, o/Uarhw,
Eut0, {Ibaraanilfar. ll,IMlani0«n.)

a. Steam HAUtoKm, cmajMini amd anamgid for Thrbb
and Foon Voieoa. tMk aa ataompanlmtat >hr Me Piano-
F<>ri4^, or Orgaa^ (y T. BnwAUw. (Halt and Pattovi, n,
' FMer-tane.y

4 &UI0IV8 and Kykib EtKiaow, emtfamd i^MtCnAFBL
BoT*i» h§ Taoiua hxrvamtOrgaaikt ta Hn Uuann.
(Anreri Straad.)

]la.BLBwiTT in entitled to the thanks of all youn|p church-
onaaiBta, for the very dear and peiqilaioua manner in
Modi ho baa led Iham thumwh (ho whole of dio aerrice.
Tbcre.b ain ditphyid OHHiderable taste in hia delicate
tenchca. In (he Aim of mlnntary. upon the swell— in his
intcrindca^ Ac. : though perhaps, indeed, a littU- ion nnich
of the chromatic and of ultra refinement, lor chunk musie
OppoarH : certuiiily too imii h fur the pure liiul iiiiailnnicd
worship of our rei'.inncd and excellent estubliiJinient, in
the music f<>r whi< fi dlgni^ and aioqiliei^ are ttio moat
lf»propriate features.

In die Anthem, the ffeneral corrccineii<i with which the
chords are connected together, iIkhicU there are many ex-
ceptions, bespeaks a toleruMe acijuaintance with harmonic
combination ; l)ut in aiti Mi|iliiit; a e(niiiK)silion desiirncd to
pourtray all the sublime terrors of tlie last judffmenl, tJie
author has undertaken a task rather beyond his {>ower, and
which he had decidedly better have let alone. The lite-
rary world, indeed, are by no means unanimous as to the
auccess of the pious in his awful flight. We hope,
however, that Mr. Morris will not fed it ^ —fjil i ii j to
biavaqr nipMteUe dme of talent» that wnNoawnend
Vh^ k til <Mn chgiM «f tbnii^ (e fce^ to mrOAt

and oiAnrily-inUlIigible matters, and to have noiliiug to
do n-itb the angels, either of light or darkness.

)fr. Edwnrd.s in his dedication, adopts the modeat
language of "jutenile prodnction;" '* denier trifauta,"
&c. ; but we have, unGntunatdy, the feet of publication
lieforc us, to discredit, at die aame time, the fediug. The
work is well brvvghl out, as the printers say. hut althoujfh
good tn>e, pood pajK-r, &c., are pleuMnp to the eve. they
also tniuiemore connpicimus when employed on ntnwnthv
matter, the vanity of pnblishint; I In peruhinir the \innme
throughout — in <loing: whieh we daim some crwiii fur
patience — we find s<nne tew jilea.sin|^ conceptions of me-
lody, not |>iisitively ti jimrioii)iIace ; utid here and there the
symptom of u iiilcitt (or combination ; insomuch that, not-
\%itlist.-iii(liii!r the clusters of Stlis and 8ths the nndtitndi-'
ntnis fake and iidiormonious pniirressions whi^ a.ssail
lis in every pajje, and still worse, the total disregard of
accent •, we still think the autlior entitled to a few wotda
of advice ; but so premature a publication bespeaks, w«
fear, a degree of self-confidence that nay doae hb eon
agalaat an unpleasant recominndiidon. It ia, that bo
fint deatray hiaplaica and gather in Uaeopiea; making of
d wma hoioc— attothoahiineof goodacnae; thathetlien
puflM hb atnArbodl of music and langtiage, under the
tunwdlBiieg of alilihi and Judicious teachers, and patiently
wait their approving flat before he ifoin oMtait Uouou
to the public in print

We turn with ploaaure to Mr. Attwood'a pur* hanuony,
short aa his preaent puUbation b; it b aome reHcf to va
ufUr the inesperienoei, and oonaeqncnt gcmcAerbi; diat w*
baveinatkhoiindtfaRtaghinthcdtpoitnieiitorsocndaiuie.

1. Glib, " The cloud-capt towers T" far Foca Voicaa ; coaa*
pettd bj/ tka laU M. P. K|j>«. (Doverf 6% dOMny-
/aite.)

a Gleb, Recttsthe and Air./kr Four Voire ^ ffrom Dryden).
Compottd bg tie late SJ. P. King. (VuU;,L,-d l,j (ha

tuiiir.)

3. Ui.KE. ■• Come, leo what pleatiare,"/or Fiva Voicas. Caw,
yw.l by jAHoa BiAiVT. (Wabh and tbam, 9M, Jbmrf

Strwt.J

4. Glob. « Who h Sylrtay fvr Form Voices. fCompoted

and pubHshcd by the tame.)

5. Glbb, The Fairy Fea*t, for Thrrb Voicb*. fTritlen and
composed, wit/i an Jcrompani'meut for Ike PiaH»'F»rte,
TU0M48 fVsLSH. (Publiihvd btf the Mme.)

.Kn we are tnily desirous that gleet, a species of composi-
tion whidi we can certaitdy boast of as indigenous to our
own soil, should be restored, both in our private and
pnlilic niii--^c,i! enlL i Uu'iinu'iit'-, to the siluaticn-. ilui- lo lla-ni,
we are plr.isi'd lu fiml ut once under our haml so ample a
Mipi'lv u\' no-.e'.ty in this way, th.iiii'h we are not aware,
upon perusal, tiiat any one of tlic above five is calculated
to eObctmnch advance towarda (bb deafaaUo reatoretioB.

Mr, II. P. Ki^g composed several little operas and
soDM very pNtty melodies ; but we have not, in former
specimens, (nor do we find renson now to clianfje our opi-
nion,) thoufrht him in his proper sjthere of action as a
p^lec eonipoMT; tliough hc undoubtedly prodiiee^l cue that
immediately became, and still continues to \w, descrve<IIy
popular. He c-ertainly M jureil much beyond his mark in

• TiM two iist wofitoin Ik* vatana aitoiihe Mb«bgi|o>

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JWX HABifiomcKnc

hw cboiM <£ Prospevo's anUfane aoUloqny on which to
try his skill ; Mid m should certainly not dream of findinfc
Micccssioiis of 5tlu and SUia, ss occur in his glee of " Jove,"
It p. 4, bctwen tdtomAhtmo, in putiog bom the Sd to
tile Sd bar ; and at 9k betmco alto and b i w i» in passing
ftou dw lith to (lie ISUi* fiom the pen of tfaa anthor of a
theoretical treatise. In the fint page of the tanie glee,
there is an error of the prciw : the nlto note should be B,
not A ; and in \i. 6 of " 'Hie doud-capl towers," 5(h bar,
£ in the treble flhoiild hare a i].

Mr. Jaaiea Elliot l» cariainlf much more at home at a
ght oonpoaer. The diatrihilkn and eomfainatlea of We
display experience and ability. Him twn i,'le«s are
very pretty, tasteful com positions, c!ipL'< iully the first,
"CSone. see what pleasure," &c. whtn, by the way, at
ban 4, 5, 6, we find a reminiscence of the most strikinj?
point in Mozart's fine duet, " Fuggi," in his Df^/i (iioiiiiii,i.

We should have been, peiiMpa, better pleased with
**irho b Sylrfatr but that «• hara fidlan b tritb the
aama asmct fima Shakspean^ aii^ aa w« Ihfaik. rather
better (by one of the Mews. WbbbCb aUfacr the hto or

the present) : the question and answer ara ttere more
emrccUy assigned to diflbcnt persons : in Mr. E.'s glee
the KUinc purticii inquire and reply !

Mr. Welsh's fairy glee must be acknowledged to con-
tain some ligliLsome, frolicsome matter; and " Should
iBouse or bat" is certainly a pretty air. Still all that can
be said of his glee (and which will surely bi icaaon satisfy
' Mr. W., aa m cannot. «« Inmbfy tHrtnune^ think of
tayiag^ efadm, ibr a idngle bar of it, to m cretfit of ongin-
nlity) is, that he ha's abided closely by the two great
models for ercrythin!; that has to do with fairies and
witches, Mattlu'w Linkp, in his MaclH-'ih, tun! C'ooki',
in Ills cck'hratt'il liiiry iT'i'f. " lluiid iii iiaad. " Upon
comparing Mr. W.'s "flee "i;h tlie tir^t of tlie-e, it wiil be
found that the " dancmg" o( his fairies in tlie same thing
as tlie " rijoiring" of Mr. Lockf'- \m1;Ii<";: — liiiit Ills
air, " SliouUl mouse," &.c. taitts the place of Mr. Locke's
Bweet air of " Let's have a dance," &c. ; — and the general
notion of the first and last portions of his glee correspond!*
exactly to Dr. Cooke's *' Hand in hand" aforesaid; as also
to Mr. Stcrcu'a pretty glee of " Oberon." and abundance

THE INTERRUPTED SACRIFICE.

(PMUktd iy Ewer and Johanninif, TO e M e m e Mtnel.

and How Churchyard.)
1. In riui.ii i'roKY Cnoni n, " Tlu^ hrisrlit, the iroMen San*

hr.uii ;■■ rompoteit ami {irrnmrfl for ']\yit ur Fniif \%ii<'0>,
u il/i I'i.ino-Furto Acioinjiaiiiiucnt, /ty WiXTKR. The Poe-
try Inj .1. II.

S. " Obt tell mc nut of love," Do. do.
& DuBT, » Twist hope and feur,'* ^ Soprano cmf Baas
' rafaML IKi.dii.

4. Ain. "HetSntisbnite.'* Do. do.

5. AiB, « The patriot dilef." Do. do.

e. RoxANCB. " Once in the (favett ineatare ." Do. do.
7. Duar, " Lore's tranijumB I'discover." Do. do.
If the introductory clioms is peifonaed as a duet, some of
tJie notes in tlic second part must b* efeangadt otherwise
the effect of bare fourths wiU not prove very agreeable to
taubiTa cars. To tiie first and aeoond of tiiese. the words
naa vary wall .adapted; but part of the tUid. tha duet,
cannot with aqr propriety be sung fai*ila pMawk fMRn.

Who, for instance, wnddwnbirr, except for the' porpoee
of burleiHiuing the compoeitioB, to utter the following

^ €h speak a'* gain my hem to- 'ithrtR^f

The pretty lively air, No. 4, lias French as well as Eog-'
lish words set to it ; but tlic lutte: Hurely are adapted, wa
do not mean to say written, by anybody but an fcw^m^-
man. In No. 5, a brav-ura, and No. 7, we trace the aaw
hand lliat aet the words to the 4tb. No. 6. tha finwadte
roaann, is well adapted tiiraugfaouL The tar fawt of
theaa bsra a gnltar aa nail aa n piano4btla —p^n^
ment; they have also Fbendi wnu—ao that thdr nuun-^
ments are manifold.

1. Ballad, " The \'eiper Bell," siMg 6yMiss Patan; iifA-
(en and cvmyMtd hg J. \oamwt»m W*aa, itttmKt

t. Bij;uiii, •Meat me bjr moanilgfat,'* tyMesMSM. (f%a

$ame PuUithrr.)

8. Cavatixa, " I have frail. 1 have dowers." sung bj/ Madame
FeMtri, ; wriMni t am fmi Ay liUaaiie. (Hu aasM
PuUuktrJ

4. CAmonBTTA. " L'AmoBr tfanUa f writtm ly J. famra^
eompoted by J. M1IIonno«b M. B. (CnuMT and Co. Wi;

Rfgent Street.)

5. Song, " With thee I'll quit the fcttiro scene;" an Aa$wer
to '• The %bt f uilar," tung by Mr. Sspio | tkt nmne

P. W. CaoDOH. (Latoar, A, JVew 0«imI StntlJ

6. Ballad, " A motber v^V* jun^ (5 Miu Stapleaa ; esBi»
posed by F. W. HoHLBK. (Odleott, 22, Great Uatlbomigk
Street.)

7. 5ioxoDV ON Wr.np.n ; irt/ffett 6jr W. Mac Greook LooAS ;
compose i hy .Iuiin liARNBTv* (Cocfci and Cot* ffrteea
St**€t, Uumoeer Square.)

8. Sono, *• Maidn, mBidn, baaMit bes" eampotJ firUmi
dame VeatKa, <y tie «ane. (Mayhev and Go« 17, OU

Bond Strtet.)

9. Ballad, " I lore but lhaal" <y TIWNUB Koena. "Bi^
(Power. 3^ ^lufO

10. Som, *«rM ffanadlhabrisblwtaiar eMHpMMl ly l»>
THaa Eui.Fi.bbt; M« ^enet hy PaopBssoa Shtti^ ^
Cambridge. (Monro and Co, 11, Holbom Bart.)

No. 1 is delightful from its simplicity; and there is noveltf
in it tooi. The baitalion of Iba.bdi u quite legitimate^
and the trbola la eaaabh of umkiiig • strong impreariniw
purdj by itamlTd^ particnlaihr ifperfimaed by a singer
of awdi varioiie powers as the lady for whom it in.
composed.

No. 2, much in the style of the former, Is not lesspleais-
ins;-: Iwilh are r()r a low \oii e, and, in all respect.-*, are as
ea.sy— lor they tiuist be sung with great plainness — as they
are touchini;.

No. .H is a very pretty melody, exactly suited to the
words, nhich, coining fnim sudi lips as the author wrote
them to be pronounced by, cannot but invite plenty of
customers. The composer has taken more latitude in this
than in the preceding songs, and iatndncad n little modu-
lation with good effect. Sodi nBatania aa Mr. Wada
ought to ronee <h> ajriiit «f ptaftasoM, nnd asdia amoln-
tioniatlMn. W# tmf wH H nllfc«o—Mb grn i rn m

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fBB harmonxcon;

801

hmag at ill Mir, ftr • lomr UMi m 9m fcregmng
■pan eoDtaia.

Ino. 4 ia imthcrele^ntly composed, thoaftfi tfw Milcneca

in tbf first ntul In=;t '^tiinztis arc a little pfitliic. Wp should
feel proud oi our exertions, could we prevail oa our coiin-
trynien either tu use no Itnlinn terms or lO ha Mia CBB-
tious ill their mode of writing: thcin.

There is inelodv in No. 5, tluni^'li iint nf llii' nio't ori-
ginkl kind ; and it Hows ver\' well with tho word~, « liich
aiaaU justly KCCMitc^l. We dn nnt know the Kon;;' t(3 nhieh
it is a (i«quel, therefore cannot oflbr any opinion of its
lelattve uierils.
As to No. we an stopptd, t» IliiMMir, by the pottry.
' an wa la fntapnt Aa tMonHmg •taasar—

<■ A mother wapt what tat dw kmr
Her kmT* trae Iwra a NitUm Molt ;
Aaiflh! hmrialcaikMInf pev.
81m taintjr wbhed to hare Uie whote."

No. 7 is a poellca! iiiid inu^ital f'(Tiision, poured forth,
we suppose, ut the iimnK at whew tlie world UyX one nf it>
proatt'st freiiiii^^e'f, .'ind thcrernrr rntlicr n tiil>iito ol' I'ei'liiij^
than uii etfuit of either art. Ot tlic verses, tUcii. we i^aj
BOthini; : t)ic intusic ia solemn ; there ore some imitAtions.
of our old ccclastasUcal conipa«era ia it that are appro-
priate and well {atrodaced, and the woida aia vaiy aor-
lectly set as to pauses and aceeats.

No. 8 b ahagetbar ona of the best of Mr. Bamett's
j n im ik m Ik^ wa hara wea ; tba air ia piaaiiag and
aawarfent. JMarfayaifaigleiKwofdMign; aBdlbartiyti im
ia dear aal tiBlitiiKaM.

Who wanlil aot ooBdada No. tt to be the euiupositioa
of Mr. Moore ? Yet, on epiaing the flnt page, we find
added, " Tlie subject of the air fWrni a French mclo<ly,
composed by I'io Ciaiichettini ;" so thnt we liorc have a
ballad, 1st, by Mr. Moore; 2diy. by n Fn-nrhman. nanu'
unknown, aiid 3dly, by P. Ciaiiclictiiiii. Now, a KiniC
having three fiUhcrs is so new a case, that we cannot ven-
tare to critioiaaao aaooMlonaaprodnelioalillftlaprapcfly
aAUatad.

No. 10 ie a right jnyonii drinking; son^, full of u spirit
tiiat iKNdd seem to have been inspired by the Tu!<can
tti pa attii ^ ^qnite out of the quetidoR, b«ng conpoaed

HARP.

L Sisni Ihwntrmwnojhr lie H akf ; e<mp«*ed by J. P*
. MaTRa. (Booscj and Co., HoUt* Stretf.)
9, Air, " Arc ymi »n!»rj-, Mother?" teilh a iplriled Intruduc-

tion antl CikIh, intrmlitelng tomr paitagrs from Itiiiliup't
' Opfrii, Aliuldin, compnsetl fy N. C. nociIsA. (OoriMiii;;

aiirl ('<>., Soho S^uarr.J
9. Pbtitb PASTORAi,i;,/.r flic IIarp, introdueittgTvro A'iTi

frm tkaabctc Opmi, )>y the lanu*. (PMUhed bg the tamc.j

4, Oramviw (o La Dame Blanche. an«m§ed for tkt Uaar
aarf ll*i*«o-FoKTB. «Wt aeee wy a al n al t ^FJala mud

TIeluneello, by tie aaaw^ (Boeaej and Co.)
B. Taisti MKLunr, <* The ImvB Iriih girl." wUk FariafjMw

far the II Mir, rnmi.otad ig K, B.CmuJumuu (Lataar,

fiO, AVir Iloiui .Slrer-t.)
0. Iruii Am, lungby Mr. Bmkam in Guy Muunering, tetlk

4tu iiitriiJuction and Viiriatiuas, eompoiej 6y T. F. Chipp-

(PtMithetl by tltt tamt.J
7. laisB MBMWv.wjttaii Introduction and Vadatioaa/ertiU

HAwa>, emtfMdmd putttMktd bf a* mm.
Ma. Mr^er's own Introduction !■ bcttCT thaB Sifpior
Fmuduiii's air, " La dolce rimemhlBn.'* ckom M th«

shnr

of dia pnMit dlifidiMaAOi Wa havs

t auulcuipliHa new oonpoilnoB is pideieUe to

that the nosti

the best that is whiit they term old ; i. e. three years and
upwardn : but wp never could discover n trace nf anythinj^
in it that is nnt nf the nw'-t jxlnrin^^ly common kind. In
the nibject of this Kondo - the latter iiidji iy of which «nre!y
is Iri-ih — there is half a liar too tnncli, the rh\thni cn;i'-c-
cpienflv i-i vrrv annnviiiir to the car. Thi^- t \< c ;ite(l, tlie
latter tnovernenl is .Tniriiutcfl and jilia'-ini: ; the ino.'.'.ij i^
well >-upported, and tlir whole it rather hrilliaiit, though
not over-abundant in new iikiis.

Not long' since we trictl the force of ridicule in nbatinp; the
nuisance which some publishem are m apt to cuminil fa^
their hnnoderata and immodest use of the espreaaioBa,
"unbounded approbatioB," " enthnstastic applanse " &c.
&c in tlw tiOeofavaqrtitliaKaoq;; botwadidiiottlMi
Mispect th^ Ae moment waa ao near wlicn a composer
would in his title-page venture undiscrni.setlly to laud his
own production : vet it will lie seen in the .second article of
tlie al.'ov e Hvt, that M. Hoi hsa dors not scruple ;iniinuncinK
tn the wnrlii liii opinion oflii-^ own Intiodiiction and Coda;
they are " pirited," he tells us — no mean praise, had it
proc«H-tled from any other <piarler. This looks very much
us if his tniinpeler had retired from the service. But, how-
ever, such self-commendation led us to suppose that it
mH.st have been forced fitom the author by the very remarfe-
nble merit of bis production, and we aoooidiB|rly were in-
duced tobotow more tlian usual uitentioa OB it; wltea we
ibuud, to our smpriae, tiiat it ia as ooauDonplace a thiag
aa ever M. Boehaapabliabed, and that its daim to the ept«
thet '< spirited " appcan to ba fimndsd on the waeda JWyo
con opirilu, prefixu to the Inlndaation.

No. 3 is about equal to the preceding.

No. 4, the Overture to Boieldieu's popular op em, is well
arning:ed, not only for the principal, litit lUso the accessory,
instruments. M. Bochsa we olwer\e, in all the above pieces,
writes a ]>oco instead ol uii jK>ro. The Ibnuer is not
Ituliuii, and may u.s well be corrected; ibr young people —
and many old ones too — are apttOSOppOSa tibat wlnt a|^
pears in pritU mu.st be rif^lif.

Nos. 3, 6, and 7 — T/u: lirown Irish (lirl, Lore't Young
Dream, and The Moreen, are, like Nos. 2 end 3, bagatelles,
but being conalnicted upon exceedingly-heautifiil mclodiasfc
will be proportionately more pleasing; unless, what is vary
po!;.sible, these Irish airs may already be in ereryfaody's po»>
sesttkm. M. Chaloner gives us no iatroductioti; eight, or
even fiur ban woaid have been nsefiiL Mr. Cb^ &r>
nishea two pagca of iatndiicloiy matter to each of Ma
pieces ; the ftrsl, a rather dry, unlntemiptcd arpe^o ; tha
-second very mudt the same, broken only by a few bars of
air. But how any musician of taste can biinjr himself to
hc! a-i!ain iii2 to a jmlacca me;!siire no |Missioiiulo :i iiu lodj
U.S L'lp '.V 1' «/(ir Dream, we catinol imog'ine ; the jiublic we
are sure coiidcnin such a ptaclice ; — fur a few (pddy prl»
do not either consiitiite nr iiitiiience the public— mastm, it'
menof proli-ssiuiial judpnent, ranuot iq^^lOVe ft : adlRtdlSB
b the cause of such pcr\ crsion ?

VIOLIX.

A Sr.( o\r> .\|R, ici7/i V urlalions far the VioLi.v, and arrnm-
paninicnts <f Orilicstra or Piano-Purd', romi<osf'l hy f. DB
Bbbiut, FMon de la Ckambn d» Rot do Frante. (Boesej
and Mitlf$ tUntt.)

This was intmduc?d by M. de Beriot in the concrrto
which he played at the Quid Acadcuuc Cvucett, iu April

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808

THE HARMONICON.*

bat ; it H here preceded by « short expressive cantabile
movcmmt. Tlie nir possesses iin snuill share of ele«^iice,
and iscakuluted to «lisjib\ ihc tci-lin^- ofllic perfornior, uiul
the pmrer of bis bow. Thi'^, :>iul also the second variulioti,
and parts of the finirth end titth, urc executed on the fourth
Miringt wdnoHiit as hi^ u the fiist additional ^ce
above the treble ; they thcrelbvedeniaiid tba glMtwt nicety
in shinins:. The other variations consist of paiiiegfii in ar-
pet^crio and double stop<i, and with respect to amuig^ment
much re^t-mhle tlir riutlior's third air, re\iewed in our pre-
sent volunip, yr.iirv Ifis. In the publication now under no-
tice he inserts im niDilifKutidii i.if the rlitTuiihii-i in siiiiill
piotes ; it is tlierefore only for verj- fiiiishcd players lo take
np this air.

FLUTE.

1. FArontTB Mblooim /«>r Me Flijtb «/!(/ Piam) Ftrtk,
mrmngtd with appropriate embcUidmients, IIaphabl
. DanuJiR. Not. 2 to IS. (Gocka and Ca« Rrimat$ 8tnH,

8AiniBDM«t»MBaMf>br(IUFti^^CBAau«tUinr.

(Piil.^iJi'it hy thesame.)
3. Favoritb Aiu fnm Winter* 0/>era, Le Sacrifice In-
tcmaipu, /h* l*e Fwtb. tU mmt. (PttifliM Ay Me

Wb racnHoacd the fintmunber of Dresaler's eoHeedon ui

popular melodies in our present Tohime; the woHt is now
complete, and a very useful one it i«t, bein«j suitcil to thr
mcjst modenile player*, and Vft not of a niitnn- to jirovoko
t)ie sconi of nupprior ones, wlieii tliry may condfst i'iul to
ext'rt their tiiKMil for (lie Liniuseinenl of unleami'd ears. Tlie
piano-torlc :u ciKiip.uiiinent is not less easy than the flute
port, ami !»ith uri- xviitiiii the compass of all who have the
eligfatest practical sliiU on the respective instniments. The
afas now published are, Lr Pi-tit Tambour; Avre Felici;
BouMtau * Dreani ; Portrait Charmant ; Carnatal de Fe-
nue; Oh! Nanny wilt thmi gang; Zitli! Zitli! Giori-
nette dke fait ; March in Moii ; Ptamtg KtUjf, and Go4

Mr. Saiut'a aacnd mclodlea aouwnt to thto^one:
amot^^t thiie ai« aome of Haadd'a moet adauraa an-

torioaoaga; a considerable number of English psalm-tunes,
and a ftw German ones ; toother with the Portuguese
fajmn, &c. arranged in the easiest possible manner.

The airs from Winter's opera are adapted with the same
sttidieii :iltriilioii to eii^e ii.s the fore^jiny, and are ten in
number. The two last books are small in dimensions, and
pnoportioiiatdy lo ia

OUITAR.

1. Easv IxTRODi'CTiox to Me Gi'iTAR, « «a oecompamment
for the Foiet i Mk fixafciiM, tic, amf aix abort Songi^ bjf
BuRMHAas*. Tbunhltd Aom dw Oamaa. (Booier and
Co.)

S. Fawtaiia for the SfAUnn Guitar, c«ai|i«fnl iy J. A.

NuiKB. (PublitheJ 6y the tame.)
8. Ombra adorata," Zinfarelli.

" Giofinttto Cni niirrr Meyerbeer.

" Ecco ridenfc it cielo .'" ItoMini.

ArranffU with an aceompaniwuta /kr tUt tOmt, ly J. A

NrsKK. [PithUsKett by the $am(.)

M. Bornhardt's Instructions for the Guitar are so brief,
that he la fcOanBan, that «•

oiirselvea from belie^inp: that they must have uiititTorone
curtailmeiit in this less patient country. His ])recepts,
so far as they go, are well con^iilered and simple, but we
cannot say much in praise of tin' tran^lutor's labours. TliO
instntctions are followed by a pai^c ot urpe^o^, uud tbeae
by six little. aoBHi t9 Enpish aiul-Freuch wocds, butw*
look in vihi Ifar the aienlMa awa mf i ed .

M. Noahe'a Flutarianqofaaaa TaqrddUnl plnar: it
coofliBia mainly oftMfflee tkeXkit, with aikvadaUnia
and a coda, to which a ahoH In ti o d w i aM aadaaiow air
are prefixed. The whole shows the eonpoaer to be a
pood aui\ an experirnced musician.

The lliree opera Arie are us well arranifed as is possible
for such an instrument; liut the [niiiur is alu>£ret!icr untit
for such music— it shoiil<l I f contiiRd U> the most simple
accnmi>nninirnls : we thcrclorf tliinW that M. Nwha in
these lias not useiiilly employed his talenU.

ITALIAN MUSICAL UIEBATURB.

Li RossiMiAVE, miaL-tierc Musico-Tcatrali i/i (liuseppe
Caipoai. Padota, ia8&, ia 8to., pp. 230, col ItUraUo
cbCHoaeUnoRoorfni.*

Sinvon Carpani, the author of these letters upon
mill miisicul subjects, is already known to our
It' Well by some particnlan reapaci i ag Idaiad^aabf as-
tracts from his wiiling^s f.

The most interesting parts of the prwewt volume are
Jjftieredi unViag^ialore ad un Aniico, topra i Teatridi
Vcnrzia, and Apptndice ntlli DiffWenzt e CoraUai INO-
rali drgli HtUi e nd Linguaggia iftmeoict.

The first of theae,lile£iieEn,weaBiiiilti
since at Venice, at the time the anOorflkd thai
of Capo-oauore, and faupeelor loiyal of tha diaatna l
They eontaia a vaiiety of interestinj; partieulara fdatiTe
to the atala of cooiedy, trogedy, and (he lyric drama in
Italy; and anecdotes of mtjny actors, sit^j^rs, and com-
posers, some of whom are still living. Tliese will be
fouiiil of irrciit use lo the future historian of the art, and
may not Ik- unser\icealile to the nuKleni iiiti'^t. Ho
will sec i:K.nv «\.i[1)|)1ps ot" yiniiii^ cuiniioscrs, who
were the wuiuier of Iheir short-lived day, and promuHOii
niiphty things, but who, afterwards, sank into oblirlon.
He will see that the cause of this was, in most instances,
not the want uf science and muaical tact, but of that fancy*
of those powers of original thought, and that fund of IM»
lody, by the aid of which alone music can make its v«yafa
rottod the worid. We afaaU, perhapa, abnitly have oecap
■on to lafhr to these letlcn more at iaiga.

But of this volume, the Afpetfdix appears to us the
most bitcmtiiig portion. It opens with an attempt*
spirited at least, if nut siicc'e?vNruI, to defend Rossini
a^inst the charg;e of hn\iiig' contoiinded in his compoai"
tions the different kinds and styles of mutnc ; of his beiiu;
romic where he oujrhf to be serious, and vice vena.
The author !)eL!;iii?< liy uskiii:^ whether music really has
those ditli?rent genera and stjles clearly and distinctly
determined, and labours very ingeniously to prove that it

• Rntthuana, or Ltttrrt
ffllh a Portrait of Romni.
t 5m* llARMONicoHrot tSSSsad mi.
I LMtrtofa Trvmtttrtavfiiimd.vpmtktntairmi/nmkri
itealM iMSr
tUeit - « nf.

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THE HARMONIGON.

oat. H* wKf» lint tlw Mriat of d>« eowraalloiMl
lex in music is very little ngirded, tad that they we,
erullv speaking, employed indiMliiiiniately, withoat
~ I MnipU. It i« true that there are HO me tonct, «iiim
caileBeea, some ehofdSf aoiuc progressions aitnitted as
lucre suitable to one «ityle than nnuther ; tliat there is a
sublime, an intermediate, and alow ^tyle: hut after nil,
that harmony in hut an utccss<>r) in riiusie. 'I'he tlioupht
and cliaracter ul u picci' of music iis suit! to lie in the
nolivo or principal pusxAf^e; but these pasragfes beina:
used promiscuously in all styles, from the want of a fixed
musical lanjpiaq'c, luiicc it tonirs that in Vdral music wo
leave to the \crse the care of exprrsaini; the idea: in
nuaic purely instrumental, the idea is IcA out of the
question ultop^ther, and only the general affections of
tlie M>ul arc exprc^Kcd.

But the bouixbria of tli«M stybs an w faintly maik-
ad, that we fiad oratrdiaodiita at imk «l araty atep

we take, (contrahbandi ad ogni tratto^ and who not iin>
Trequcntly prove greater gainers, in the end, than the
most experienced and honourable i^eculators. He con-

cludcs, that if we are to find fault with Rossini for the

COUrsi' lie 'ulliiui'il in ru'iijiosltion, We must ncci'S-

Sarily lit) till same mill llic i^iiati'st luminaries of the alt,
bcjjiiminjr \>ilh IVr£rolesi ; all ul' whom either fell into
similar niirlii^iiices, or chose, lon^ biforc the time of
Ito>sini, r\])rf'-slv to commit such fault'*, in order nut to
hurt the melody, to which they f^ave the prerfrence over
expression. " When we have," adds he, " a fixed and
determinate mtisical language, then let us begin to be
ligid critics. But is such a language possible ? I kare
to the leamad tha solution of tliis problem."

In the meaBthne, while the learned an occupied with
thia impoctant qocation, the author doaa not haritate to
sin hia own ofmlon, and Blltmpia to pravethat if andi •
tauuiffa to poariUa, ft ii ecildriy nat dMWbla. Ite
dhrnie art of mmie would, aeeordinf to bfaa, oaaaa to he

beautiful ; and being stripped of all nhie, ta BMIgie,

its life, and its honours, would be degraded into the rank

of a niechaiiikal .i:t. 'V'.i'i-. view of tlie vulhjLct, ihuugll in
onr oi)iiiiou |)ci;< it]v crronei>us, is followetl l>y some inafc-
iiious nrtrmncnts. W e will give a spec iidi ii i i' the rea.son-
iiLfpi uitli Mhich lie endeavours to support hm theory, and
sliull. as far as our lumla will allow, nuika im of hto own
Words.

Every fine art exists of itself, and by itadC Bach baa
ila particular scope, and the roeana of obtaining it. They
all ttim at an indtation of nature, and at the same time at
producing pleasnra : acnlptan, by meana of rriicf ; paint*
ing by colours; and nauak by aounda. To Join iclief to
paimlhii^Ba B u&hn aoop did i» 140^ andaft nlalcrpariad
P. Pom, IiCgnani, and aama othera w an eemadand
no leas detestable and worthy of reprobation, than the
practice of painting and colouring the statues of the saints,
then prevalent iu certain villages in (lermany. And though
»»oinc few of the jH-culiur attributes of one art may with
advantage If iiili(Hluce<l into another, as for instance the
elleet of c/iiaro-nruro, ami, liv menus of a ditl'erent polish
ol surlhce, those of ihe m- rr /ij;/; into st.ituarv, still such
foreign means should be einplou-d only with the greatest
caution, in order that the predominant cbancter oftha art
may not be altered or deteriorated.

Poetry has fur its means rhythm, which naturally
nceives the character of music; and some portion of
thia ibylhm haa alao ita advantage ifi praae: bat
theepopeiatoba aunf ingood eoRMM. afanto the
expresaiva aonada^ annly Htm b w OM WNdd

Vofc. IV,

that the efi^ either oftlM OM w Ow ofber, wwia bi
thenby iiupntfed,

Muiic beeoai^g the oamper of dM first place, wonM
mj aoon ovaipower her two nton noble sisters. Tha
aama miglit be aaid of any nraaie whatever that should
attempt to speak with an idiom peculiar to itoelf. By
de))arting from its proper functitin, which is that of em-
bcllishim,^ li\ it- rm lodies, and colourinj^ by its combined
sounds the rhytlimical text, or numbers llirnishtil by poetry
for that puqwse, it wnuiti oilier its jiropcr condition, and
de5ttroy itself. Sclf-dejicndcnt sounds would be like in-
animate meinl>ers separated from tlie li\iiig Itody. But
supposing that music could liave this diatiuct and self-
constituted language ; what wonM be gained by it? — w«
should have one language more, but one artlcaa tbaa
before. Again ; such a language must eithar be iminu-
table or not. If inunutable, it would aoon beotnne waari-
some and diatrcaainp, by the eonatant rcpct^ttoa of tba
same formulv, which all would know by heart; if Inmitt-
tablc, each person might produce one of hia own, and we
should soon see a new musical lial>eL It night be
added, that in order that this lansuat^e should be under-
stood, it ou^ht to be studied by ail ; and on bein^- ;ij,j,lied
to the dramatic text, we shouhl have the poet's idr.i t tiih-
fully announced in two divtinct lanffiia^^es at the ■^nine
moment, — a thinfj very inconvenient for beinirs tu vvlioiii
miturr, in her economy, has thouclit til to alUnv but one
mind at a time. Uetvvecn the idiom of words, and the
language of sounds, us up]>lied to words, there exists tliis
ditrereiice: in the spoken idiom, it b sufficient to express,
w ith all the distinctness possible, the idea to which worda
are to be given ; music, on the contrary, belbra attempt-
ing to express the idea intnuted to it by the poet, to
ui^ar the neceaaHy of dwelling upon ita own thought*
which to tba meloqri • meana exdoiiTcly Ita oam, and
which neto upon vi in • {dnaurable manner, even
without Ae lie^ of the matatial of poetry and oratory.
Secondary to this, is the expression of the thoughts
which it is the province of poetry to express. This
melody tiic ima^nnatiun of the mobster creates, luul it is
through this, his proper creation, that music becomes a
liberal art.

We leave this Appendix not without reffrct, for it is full
of oriijiiial ideas ; 1 ut we Ciiii;]ot ijuit the subject without
some remarks upon an interesting note of the author.
Hie thoughts it contains are not altogether new, yet they
are delivered with great clearness, and can never be too
ireijuently repeated.

The object is to prove (bat " muaic essentially diflen in
one reapect fron the aisteraria; namely, that it pifeeipolly
acta upon ua aa a physical power, so that without any imi-
tation of natane, it to eapaMe of producing a w maAa bta
and peculiar pleaanre; in other words, a sensual plea-
sure generated in various degrees, according to the qua-
lity and union of its sounds. Noises wound the ear, clmrds
delight it, and a succession of analognus and well-con-
catenated tones cii li.iut, it even without the aid of words.
A liieoiy iiiii;ht be laid down lor the physical tfratitica-
tion of the sense of hcariiic in llie same manner as a
gaatrunomicul one has been devised fir tJie ih-lipht of
the palate. In the other fine arts, the deliu-ht or disgtist
of the sense is very slight. Be the object l^eautiful or
deformed, the eye enjoys, and sutlers but little. " Tlie
delight or dissatisfaction produced on the spectator is alto-
gether of a moral nature. — ^The reason is, that the organ of
«i(^ to not like Ihoaa of the amell, the taale, or the hnring;
~ ' ' by Mrtwa to ictMity tVM tia^^ito dbfct

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m HARMomcGM;

■nd pbTRiori mIIsd ; — it is rather the vcUdc of ideiiB,
than the mesns of produdnc corporeal md dbtiact tat-
Hitioas cf differwt Uads mi cfMts. b wmie; A* de-
I ia obtaiaed Unrnigh die mdofiy.
loflteMordt. Row-
«Ttr, take away On malody, and the pfayrfeal pleaaiire is
also taken away. The bairis Is wanting npon which to
^fitalillsh the art; nay, more than the basis, the very
esscucc also wanlincf. Itiif some one ma\ -iav : ' Still
music han raised itscjrU) the rank of an inut-ifiM- art, anil
from bpitifT the men- if^-iiobk* niid ^'■ll^ilKll aliiiuiit of the
ejir, liii-- liccniiie a sublime .imi divine ail, futed lo touch,
to dclig-ht, to exalt tlie mind above every other.' All
very tnie; but in this npothcosi'^ of music, the oi^gran of
kearii^ has not clianged its nature or purposes : it still
ranains such as Nature made it, and constantly demands
Ihoae nbaHnma wUcfa plaaaunbly exdU it, and fill it
wMidc1^|lit>

** Mtniic, Owreibre, widi all Olis idf-aggrftiidisemeat, has
■ot hat or ifinlnished its physical fcrce, its primftive ac-
tfon, great, direct and immediate upon the sense wliich
was created for it, and to which, throug-h the creati\'e
KIterality of nature, it wos granted for our solace and de-
light. Henct- it n<Tp<isarily follows, thai it must, first of
all, gratify the early jihy^-iciil nirans, and afterwards the
mind, with the lu'ire imbii', anil indi'spen'snble itnilatliin
of the biMutit'ul. Hut bow uie ihiy Ijulti to he <hliiclilfd
at the Kume time? With pore and genuine melody. Btit
where to find it ? Masters of the art know it better than
I can [raeaihly d« : yet I will venture to give a few hints
b fhe aeeonipaiiyiug n<ile."

We iBuat beg the aulhor'B pankm ibr aot faoting his
ante, beoanae ire fid penoMed Oat Iiib undartaUng u
toogieatlbrlumnpowWto aocotnpliak Did he pos-
seaa the acaet of hmag aUe to create heantifal melodies
aft will, we ought either to send him the hemlock, the fate
of Socrates, or decree him o^ttracism, the lot of Anstides.
Were the productions of lln- bLuuiillil, and the jiKuor nl pro-
ducing; them to becnnu- coiiiiunn iIiImit^. <lie pleiv-urctn !if
derived from tho;ii ivmi;.,! ln'cunM. liluuit'd, it' not «le-
stroyed : exquisite scnsationn have the eH'cct of destroying
the edge of sensation. Nature is more provident. True
geniuses create them, bat true geniuses are only created at
long intcrrala.

jforcigu iiflttsiteal Beport

VIENNA.

KSmAMHktr Theater,— \ oranp Cantata, ealled Dm
KaUert Ctnetung ('IV Emperor's RecoveryX was perfuraied
hrre, ;tnil excited toioe sen-iatioa. The muuc is by Kapelhneiitler
O^vriwct/, and \rn» ntlrniralily sunir by Miubwiic Griiiib;i'iiM, Mile.
I ctr, an. I M, h... Wa-.l S' rn-i*iii>.'>T. Tins n fnllowed by
Alfxandt r in tnilia, a biUlct first bnnii'lit mit )>v I!;irb:ija nhii
preat splfiKluiir, ;>n<l which pleancd on its nMnul lien'. 'I'li"
niiwic is a pmlircio. made up frorii ri-vcrul iiprr:i- and bullet
pieces, but not the n|{r»'o ifil; mi t'ni nrcuniii. Vest came
Der Frtitrhuts, wiiitli ig ninv beard H ith rcil.iubied interest,
and was admirably aaac ut ed; tbit wa« Odlowed by Auber'a
ODcm La Seigt, wU^httrwduced to our public a Mile. Uets,
vteliaehangdagartrcMasweUasnnKer.butcaaU Bqt,hMr<
cm, efiiee the reoollertiaat of Mile. Bontar.

After this we had Taneredi, the part uf the hero by Madame
BoTfoadio, a hdy not unknown, I befieve, to your itan.
Aaiaaaida waa iMmealed by Sig. Fraoehctti, and Aigirio
tf Hgnev lUdleeB. usetenaiiiehaa fer aaaw tInM tJbU

from the siaire, bat whose nid \r*» impprative in tte paiant hi*
stance. Hence, it will not be difficult to form s toleraUe ides at
the iniuiner in which thii opera whs i;<it up. itut the nublio
were roudnaliured ; tbey tuok the will fur Uie deed, and kindly
turned a deaf ear laiha oaay d a ihiy i n i BiiB agaiaat tiaie aal
tune.

The Schwelzer- fumilir followexl, in whirh a promininir young
»in!{er of the nainc of Schccliner made her di'-bftt, and created an
tinoninmon senMlion. She pootesies a p«ee di peUp at ODCe
powerfid and pleasinir, and in tier mode of perAmwiacc. as wall

■ h .1. stwegiy wkWed the rrf Ma*. Mi idai ehw

III iiic prioie of her talsat.

Jo,ej,luiiuU Th«at«r.—TVi» theatoa kaa laldy latndaeai
many musical pieces, which though of moderate merit hare been
favourably received, and the dittpositlun tu obli^ a public (o
devuted to uiuaic has not been without it% reward. The cumpo-
»«r foe this theatre, Kapellineirter Wcniel Mailer, is a man of
talent, and ban produred sereral pieces of merit far abore the
common. Amonr the latest of his prodiictiou* are jlpoUa und
Jrr fUekter (Ap^lo and the Poet), and Die Hi-itr. in't Had
(The Journey to the Waterinfr-placi-;, wliii.li ,ire full of tprig^htly
luusir and aijit i-.iblc idtuation*.

Th'ilrr an dtr It'ien. — Amateurs were aj^reeably surprised
by the aunouucenienf, tliut tjie Zaub'rJl'i.U was in rehearsal at
tl'iis t^ieiitrf, the rcs-iurrc8 iifwhiih were nut deemed adequate to
>u ti:-!i I'M i ffiirt ill the art. But an iirdinc to proini»e, this glo-
rio<n nia~t( i;i;rrr (if the ircniin of Mozart was prwd'.iced, and
perfonneii in .1 inunner, wliicli, if not bordering- quite on p«rfeo«
tion, was iu the highest degree praiseworthy. A Mr. biebect
and his daagUtr Chun e«(«ad their taleBts to e B Bald efah i e et.
fci t. and la the two dillealt bnrara aln Me dniaetar er fha

Sueen of the Ni|^ «he latter obtaiaad ataat applause. AlW
is was f iven anbrtermeszo, composed or soenes from tiie opera
of •/m* de P4iW's, with ain and duels of Rossini and Carsft
introdDced, in which a favourable opportunity was a|^n affiti^-
ed for the display of the talent* of these two biterestine artists.

The success obtained in the Zauberfiote encouraffcd the ma-
BSHfeaienttoproeeed to a slill birhcr efl'ort, and accordingly we
were treated with the i>0H Oinranni, which wns very fairly cast as
follows: Donnn Anna, MUc. Ilci krrmann. Zerlina, Mile.
Vio, who was excellent in her pirl : I'J- ira, .M.ici:itiii> llurlwiif,
lion Oltario, JI. Kreincr; Commcuilalorr, M. Itartlmi. niy, and
l.. j.f,r,llo, M. Scipi-Il ; the princinal character was jnlriisted
tu til.' baniin of a .M . Frisch, who did his bciit lo fulfil so arduous
a task, but pnneil liirn i lf one <.f llmse u]iijn whose birth the
.Mu«e iif tlie Ivrie drama did iiut n rtainly smile. It b to be la«
mcMieii that, iu our riav^, hefiiiiier* are ambitions to eaonMnoe
where, pnipcrly fiieakiip^, theiutiit who lua Bialaied his tairata
should um 0 6 .

\ new grand (juatuor froui the pen of tie hunaawHe
n 1 li ven hat juat appealed hen. it to entitled Onmd Omi*
tii'.r I '.urdeumFJoHUUfAIIOet Ftaloneelte, tMtftit tt dtdii k
ton AUeue ffonteigneur k Prince rfe Calif :in, par LouU
n'tthwen. Op, XTT. It may he iiistly said of this coinpuser,
th It thoiiirh Haydn and Mozart had appeared to have lixed the
tiiiiiti of this species of cwnpesition, he has extended them. The
energies of his erer-artire mind lad bim to create new fornMi, of
which, bold as suiue of tbeni are, criticism has recognised the
claim, and received tbciii into bercanon ; tlioogb many, it is true,
must be content tu rank there as splendid exceptions to i^nersl
rulcn. Beethoven's iiiaiiner is Cipially singular. WitliiMit
any apparent plan, «illu>iit any deteriiiinatc eonnexiini be-
tivi-en the part* with a vie^e to a perfert whole, hi* works are
iii irl^ed »»itb the ioipre«s uf inspiratiuu ; Ibe 111 >sf abrupt and
'iii'jrlar transifinns, effcets ihi- ino^l extranniinary, and pas*
iaircK iif ilii'Lri-L.iii.iil sulilitnitv ran;red by tlic fide of tbo«« uf
the nii>«! iippiisitr rharai ter, freipn iilly retail tu our uiinda the
well-kniiwii reiiiurk uf N.ipuloon relative tu the sublime and the
ridiculuiiH. In the r<>tnpiM,itiua before us, what mure dirine
than the rantaliilr iiio\ ement, so full of tender and naitaral
feeling, but how iilranu:cly contrasted with thesdUrMMWtfo
which famnediately follows !

Beettoren has auodfetted power* of the flnft eate In
iPM^ ereenaaMon. hotit wfl) not bod«Mlhal Ua
pMw l^&eiad oahdwtiaii.pidi*rf '

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THE HABHONICON.

•re tViu beautiTullv cbanu:t<;r:zr.l by lU^ii lanlt, • Oennan critic
•f aininettcc. " The (yinptmniei uf Ilitydn uiar be cumpnrcil tu
'» bcuitiful u)«l elegant vilb. iu aii<I around wliit-h rverythiu^' i:i
Inliarnicinv, prrrvtliiruf plcasinif anJ lovely; tlion* of .Mo/.irL
like a lUii^iiifn'i'iil puUice, tlie Kiilt'iidour and riclu-.-. uf "liidi ex-
cite vour liL'licst adiiiir.ifi ii) ; liul llic iriifantii- i iiiii;iii>iiin7ii i>f
this kinil frmn t|j.' ]ien of Beftliovcii rowuiljlo botui' .i< urn!
cktuil-cappni tower, which strikes yuu with »we, wonder, aud

* liF.ni.lX.
A ?((>VBLrv (if riuhrr ;» proini«in£^ nntiin' liA^ .iiipeftrpJ here,
since our List report, in an licroic uprni, entitli-U Uolami s Kiutih-
pen (The Squirei of RoUnd), both the vomli tuti mmic bj
Heinrich Dura, a jmmg dilettante. The p«blie Meeivcd thia
int emy of hitam imtiM omt moannfiaf Mpprobation,
not to ny enONltun. WuAug htui the piees W once, I
Ad atl mtku* I* give ut opiiioiB, hmt jwi ina; expect al I |Nir-
fleukntainf next. Beaidea tfaia we iMve a piece froiD rour own
theatre, called One o'Clark; with lonie spirited mu«ic by Baron
Lnnnoj, which has uUtatncd rery fair lueceu.

>Ve have been faroored with a risit from two performers of
merit, Madame Neumann, front Carlsrahe, and Madame Draun,
from K6nigiber|r. Tbe former, who pus»ei>8ej con«id<>ral-!e
powers of roice Jijtned to fp^t r ner!;;- of action, ^nc th" prir.-
clp.il chamcler in Die fFiencr in Itrrlin, »» well iis tlio part of
till- I'. I'.' in Boieldicii s Ji-nn ilr Parlx, and obtained i'roat sut-
ces.- ill each. HeriiMtmrr riiarked !•> ffceat iiaivi ti', and she
lihcirs a perfect kuowlfl:.''" of iiuisic. Iii'ln-il, in tin* rirl at
inif ulie joiii« tlif acfonipruhniciit of a l'!""' piiuii!.t, nnd dis-
pl.ivrd her t.-xlcnls di l tchI adviintairo Litely in llu' ju rfnrm.ini o
of two of UianKiui s Nutturni, which ubtniued her p^rrat ami de-
■erred applause. The other UAj made her dcb&t in Faer't
cpera of Sargine, and it is a proof of no mean talenta, that eten
MM rwoUectiona ofMadMi. 8in«a|r did aot umrnut Urn pidilic
fiwi baitowinir yrrj wwin MCMBiinM upon Mr pnlbnHHwe.

A mir apeeiea of timfarkal raprcaentation has recently been
lattwdaced hen, which firem ita norelt^ haa drawn vcrr full
iMuaei. and not » little leaded to replenish tbe rather decllniaf
funds uf the estabGehnwnt. It eonsista of pictorial repreaenta-

tions, embodied by lirinf persons in rharartfriittic costume, and
accompanied by apprupriale rouric. 'I'lic opcnin:.^ scene was the
rrowmri;; of Apollo, after a well knoivn desijrn of (\iiinscllor
Si liii.l.i'l, M ( i.iiip.inicd l)V :i Duct from II. A. \\'''li<'r'> < uniine-
moratiuii pii-n-, ciilitli'd I'.yiiurniile*. snritr Ijv illles. (.'arl ami
Ilotfuiann : Juscpli in the [irrs'^nic uf l'h;i rauii, .iftcr UafTaclle,
with the cidcliratcd romance from .loxrpli in Egypt. »unp by
kl. Bailcr; the Finding of Moseit, aftfc Hatfaelle, with an ap-
propriate chunis by Nauinann ; the Sale uf Loves, from a paint-
W found at Herculaneum, with the p^rand terzetto firaai the
^mU» of lUsaini, executed with i^reat nfiHt by Mllas. Ileia>
mid, Oatl. aad HcffoHu I MMdiar Mialiaf fraa Hanii^^
•rMMi. VicMflt, nd BMchntiik wiUi tto ipitltad dterttt from
Hehufa OtluU: ftdithrrambic prowsaion of the Muse*, altera
•ktteh by Waner, made in Rome, with a ^aml chorus by Nan>
mann ; the Prince ron Qcldem orderiOK his Father to priaon,
from a Kembrandt, in the rnJlery of San* Souci, with a chorus
from Catrl ,- Rairaellc and his Mistrees, from a pi«-ture of I'icut,
with a barcarole of Mad. Gail, suntr by MUcs. Carl aud IIolT-
mann, and M. Bercnd : Sicffriod's Departure from Chriemliil-
den, after a ilriiuimr bv t'lirncUus, with a German ^finnWiW
(minstrel sontf ), suiiir hy JJllcs.Klache and lloifroan, and .Messrs.
Jlerend and Heinicke; the \'iidin-pliiycr, after Van bteeti,
with n p>aNant-chi)rii«, by M. vonU'cbcr ; French Kcctuita,
after Horace Vernct, with a celebrated French niarrh. The
whole went off well the scenery »»» wrll iiian.\i;ed, and tbe
lights and shades in the baclc-ipraund of the theatre admirably
dupoaed to fire the whole ^eBieet. The scene of Raffaelle and
W> WitHM wae enthoaiaiticaUr encored, a* was that of Sirg-
fiM, and the old German national melody with which it was
■pptopriately aasociated. ^

• We cannot mfli r iliin funi ifnl cbniact<>rof llic tliTi" f;real »vm-
fili nn'. 1.. ti. riir- iIm i:n^l,'.ii public, \»i:h..u; .i.^iin;, thai it is
one of those poetical UighU of M. Ueichardl. which moat absolotel;
iMak iMo oethiif «poB ih* iiiililMt — Iwlin (iWiii A
HAMwmcoih

DRESDEN.

Our German opera, the tanie as laat aeaioo, hat not been rery
,11 live, iit least uothini; in the ihape of oovelty ha* been pro-
duce. 1 ; and when wc Itnik at our neignbuurs, who are tnaking- <^iir1i
rapiil advances, tlie comparison ia unythiu|;but t.atiaf.ictory. The
piecrs triveu have been Prcciota (twice , by no nieaiu well cast;
Jean tie Paris (once; ; Der urur Oulsherr ( Tlic New Landlord >,
.111 opera in on* act (once) ; Kossiai'a ISarhirrr ill Siviglia
;once i ; this ojK'ra I5 never out of favour with our public and in
the present instance was perfonncd wilb jrreat spirit; M. Mejo,
from the Erfurt tberUre, ijau" the part of the Cuuut with uiiiiua-
tiou, and XIUc. Veithciiu that of R<>iiina with tolcrabic cllcct, unly
her roulade* came even thicker than the comnoscr intended the/
•lioukl,and,eveB as roulades, did not roil well by any meant : Dot
GeMmmim (The Stetetk an open in one act, hy SolU (onw);
Wdrie vqh SkmtMam, Winter (twice). This open mt n>
vived after some yean* repose on (he shelf. Many of the mala*
dicii are cxnuisit^ but the general character uf the piece is tame,
aud wants dramatic effect ; and wreral of tlie airs, beautiful at
ibey are in themseire*, arc uiitiplaced, and Impede tltc march of
the action. But the beautiful overture is olmust lufficient of
itaelf to redeem tlie opera from obliiion.

Our Italian opera has been more active, and jfave tlirec new
ft's, the Srmii'amiflr of Ro.vsini, Malilil" ilc Shabran of the
».iiiie, ami / fiitunti ninhulauli, a comic opera of Fioravanti.
U'illi ret-pect to tbe iijieras uf Uu^sini, uolliinff uewcan bo said;
tu iitteiiipt to i ritii ise ilii in wuiibl be only the old storr over
aqaiii. \\\ tlichideof iiuitb (iiat iji weak, trivial, and tWcad-
bare, «c I'ni.l a rrderiiiiiiL' ])ruportiiiri of the ;;riiiid, the beautiful,
and tbe cM'illent. C util 'be :-|iei tator contrive to attend to no-
tbiii); cIm: but what is doubtful iu iIicm: piece*, and enjuy tbeut
to the exeluiioa of the mean and infeiior part* ; or eouhl the
bearer* chat awmjp the time consumed in theae nake-weicht
pnrts of the operm at the/do la Italjr.wha* tktf bam m
bapiiy art of teidnr at once upon what it |[ood. and divwHof
thernselrr* durio|r the pcrfurmauce of what is dull or bad, then
llli^'ilt the amateur really promise himself tnuih real enjoyment.
With rejfard to ilatiUr, or Corradimo, a* it it also caJlcd, it It
one of tbe weakest of lUisiiini's weak eperat ; but the excdjent
sin^in^ uf the Siicnura Pallaitesi fare an interest to the piece
which It did not otherwise poasen, and it ran for KCt cral nights.
Tbe cuinii: iijicra of Fioravanti is full of spirit and pleasing me*
lihly, and uut defci ti'.e iiiliuniurouH tituatiun.

Anion^ tbe repetitions were, Lc A'oirr il! I'if^aro (twice) ;
Iai Ct itiri iilwla, by Uo!i>.iiii ilwice); Tancrt 'Ik; s.iiiii!

(oncci : .\ )oiini! i-iiiifer of tlie name of 'i';b.ilili pi tlunned the
part of tbe exiled beru, and ji!e.i.ie,l riiiicb, as w«ll by llie (H'aiity
of her voice, as the spirit »nd appropriateness ol her actiuo.
After tbia, we had Spontini't f'cttaU (twice). The Sigaoni
Pallaneii dittimpiished beraelf in the chaiMKr «f Jnli^ *—

great tatMir aMMing^ bat wa CMdd willtag'^ ^ipM
with ta*«inl figbli of roaladc^ whieb, ateinole at (bay m

in themselves, would hare drawn down the malediction* of |
Spontini. However, we must do justice to the excellent 1
Dcr in which shr f^are tite cavatinas of the fint and second
which were marked by great fedinif, and a chatte and taib>
dut'il ujauner. A Sifiior Pcsatori, a tenor new to our ttagcw
pieajicd much kj fbemduiea* and power of hi* voice, and could
lie hut throw more energy and ^lee into his action, would be-
ci«ne an ornament of our stu^e. At each of the rc[ircsentationt
of this opera, the house was crowded with all tbe rauk and
faithion ol the town : there was a time when [ircjniii. es o^i'^tej
here araiiiJil tJie Italian opera, hut it Kecnu iiuiv tu liave risen
into a deit^ree of favour likely lu eiliii»e ib.il uf tbe (ienn.iu
opera iteeifj however, fa»hiou, caprice, auU folly are aimust

LF.IP.SIC.

OoR activity in the 6eU of drainatic nius-c is as great
be expected from tbe means wg postess, wliich are aa
kind to oorretpoad to the witbca of aw auaMfa
Our orcheitra cootiitt of IS vialint, 4 violtlb i
and s contrabaataas Oia ia M Bean d^llar af
•traneati. but !■ iMM of fhe wind Idad «■ afe
The aunber «f AaiiilHi it trm M te JOk wbe Hn

The

SOS

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fl06

THB HARMONICON.

I* ooder tlie imtufeMBl of IfMie-Jircelar Pinfir. and I«d

in It very able numner by our cxccllrat rmwert-maitpr
Matth&i. Our prrsrnt prima donna ia Madame Finke, who h»s
a piH>d voire, but rannut boast of a fininhfd »rIiiM>l : after lier
M'C linvc Madame Dovriftit ami Mile. Haiif, «1hi ar(> <lr ?irirnr
rcilher in tjiste nor pinvrr. Our ti"'n>ni arr .Mi*'s. \'rtt« r nmi
Hiifler, two nrtlfls of ycry rfv;n i t iMi- s-tavii) iiii'l «li<). if tlicy
do not ponsps* first. nitc puwcrB. Ii;ivr .it Irasf tlic si<ix\ fcrise
Hot to affect the?ri. Tin- Diirra* given hx\e lierii Kiirt/mthe,
which cffuin more and iiinrc a favorite liere, iind deservedly lo,
for it poturtteR beautic* whirh, if not of a kind to beconie at
•are popular, are of the higher order; Jrttonda, which wa*
veil cast, and mr miriledl v pcrfiinncd ; R«t«aM t Die Btrg-
gth*! Der Frmekutx; ^rgine; Jean de ffaWirf and the
•tcraal BarUan, who. Uke m amniof M«lMr «f (kat trade,
M;f be ■ little oreMtflidiws, but never weeriat «ik mic'»
JWiticnre.

A very pleniinj^ and promiiiinj; performer hn« quitled ui, in
mrdcr tu diiipUy her Ulenti on Uie Paris board*, the Signora
Canzi, who created qnite an enthuiiaam dnrinf tier ihort ttay
ainonc^t us. Besides ifre.-tt power* of trmce, the l»a» a rerjr
plensinr person and manner : the female part of uiir audience
admired in hff a cairfy an:i njiriL'litlitiessi that never bordered
upon Hie rnlsrar. and tin- ircntlerricn nil :v!'iiireil at her well-
turned anrle aixl po.vcrfiillv rxprrs^ive eve; »liile all ni-iteil
in line njiiiiiuli ns to Iiit lutrirf success in a profrHiioii |.> ivikich
she cannot but pruve ati ii;i|i.)rl.iiit acmiisition. In unler to sliru
hcmried poH-em, ►lie ji'rfiinned the principal chaniciers in iti-
and Ln Ga;;« Liiilra. ^Yc iVr! ;n-iirrd
Atl ft Pkriaian audience will knowhovr to apjireciati' Iht iruTii*,
■•d dttt ahe will add fresh laurels to her (atnc in that ca|(iial •.

AlMMfttie fMieiw musieal 'pubh'eations that hare lately ap-
MMW wre, the faQonrinv ha« excited « considerable teneatioii.
It is enUtled : Te Deim LmMbmuu, ITvmiiim Jmirtnmu. in
mum guatHor eoeam « eJleW, fte. fa., hjr Sekkiit. The
critic* speak of it at n truly classical-perfurmiUMaii aad full
of beauty and originality. The oncninjf fuyue, wWek ie hap-
pily repeated at interrals thrauf h the nieee, produce* .-t striking^
fffecf . The ward* Th rrx glorice, Ciriitr, are given in a dou-
ble fiipie of jrreal clearness, beauty, and power,' wurtlir, it is
naiil, lit H u ll in Ilia happiest momenis ; the lU^nare Domine is
a pntycr tlial breii'lies the very Bonl uf devotional feclinp, and
lias a beautiful, rluirto, ;ii;.l expressive viiilimcclIii-Hri innpani-
inent. Hut thctriumpli uf the piece in the lender Anilantinn in
F sharp, to the nffectint^ words T%t ail liftrrantlum tuirrjUuras,
^e. (When Ihoii didat undertake to deliver man, thou didst not
■bbur the rii^in's womb). The eonrliidinEr pawaye. In te, IH-
W^ie, Bittravi, it a fiifue full of life and beauty'; it pi.ii<iesM;»
we netlVniliB eoinpii«iti«ns of this kind, of ii'nitini; i,'reat in-
fCMity ef eoolilvance, with fluwing and expressive nieludr.

Ainoiw the vwdpieceepuUi^hen^ Iheeaineeiiiaa'of the
fmlcit inteml it that endd^d: 8t»iimen dt» hnUUgi, in
aeeAe Liederu. tte. (The Voiee* of Spring, In eii Sonf^^) bv
flefairleh Steij^itz. set to music by P. W. Lerahe, whh a piano
•ceninpaniment. Op. 6. This composer is alrcadv known bv two
ii«nr« of great merit, which have became rery popular 'here,
fi.K-thc a Bon^. Mit rinem grmahHtH Bomde (With the Nuptial
Fhronr), and the celebrated ballad uf the Grecian bride, by
Stcijfliti. The present work is in no re«pect inferior in spirit,
1!^' ""^ ex|iresMi,n, to the best productions of this

prombintr composer. 'I lii- first, which U entitled rr,i/ill„ir,.
tfhntucht fA Loniri:,? I.,r S|iiinL'», is hini,nil:ir! v Jcm'i iptive of .1
feclinr which it would appear no easy task to cliaracleri/e ; the
••*""''t''''«*''"ff»naAfn('rhc AppriMcli of Spnni: I, ojien'. « itt, a
Wf^nemof extreme »uflne».<, in which .>ne secina to feel the
Mt brMthinn of this (fenial season, afti-r the irloom uf winter
taefled; U|e»|rf< FrMingtUU,, (Life of Spring), is full of
f"* •P*'*J** Friihiingtandari (Sprinr-De-

''*"*'v."r""l"' ** T"'^.**"* fervour } the fifth, AiMinrt-
gruu (Salotalion lo the Springs), {• hi ■Htifnilf iMjiiiielH lif *ht

•The rari.ians it appears do not coincide in opioion with onr
Ueman critic a* 10 the merits {of Madlle. Caoai, ead «• have

Srt^ I?'*'".*'"' 'heir judgment tatb* |n*eMeaaeUiheBost
I W |Hl i l «l the two. {Emor.)

exultation of the lover of utBre, at the view of tttflloilHef Ith
season of life and loveliness ; the last of these t4Mfl, PfwUbtgim
tponite (the Juy« nf Spring), terminate* the pICMiifcUBez of

feelintr expressed in these six com positions.

("ritica speak favourably of a {iniduction of Jnhn Schneider,
brother of the well-knoirii lornpowr of that name, entitleif,
h'antntir niitl Fuirr fur itir Ori^rl. Thei.e coinpositioru are
said lo be of the school of Itach, and to possess creat vij-our and
beatJty, at the same time that they disfilay .1 perfect acqiiaiatllMS
with the noble instrnuiciit for «hicli tliey are written.

There bae klao appeared here Utely.' Thimf Anglah, Tari6
poor Ie Pten<i*forte. par George Onslow, <£ur. ts, which i*
■aid lo pneieee ell the eleamess and scieixe of this emlkM
amateur, joined to fteet eweetac** and ekpreuioa.

MIUN.

Tni wdlaknown Neapolitan lmpretmrt«, BuMi, hu amin
nndeftakm the management of the Seata, Mr. tiMMeo|i hneiiMr
been nnttueeesful in his specnlatioo. Time will show whetber
the pubBc will be the gainers bj this change. The onerinir of
the new season does not augur eery hroimUy ; with the excep.
tion of David, the list of singert ia by no nwan* iniposini;. and
there waa but one new o|MTa, which proved unsucressfut. The
liilli)ivin|r is the Ci»n)]i\nv enpajed : — Pn'mr iltriiir, Slefania
Favelli ; Lui^'ia Jt'Meabadati ; and f'.in.litia l"r;incliina ; yrimi
fenori, Gioranni liavid, ami Giovanni liattista X'crcrci- : ;>ii«ii
hatti faiilanti, Antonio Anihroiri, \'incen/o Saniini (rVom the
Munich theatre, I I,uii;i nioiidini, ntld t'atlo .Monc;iiJa ; <rcnti,le:
lionne, Maria Sncehi, and 'i'eresa Itujifieri. 'I'lie new openi
of which we spike was La Grlosia cnrrrlta, from the pen of
Pacini, the principal characters of which were supported by
Pmells, Fraochinl, David, Ambrof ■ and Moncada, and it was
(faOmPM by a new ballet by Ueniy, entitled J>u>cm; but, k>
menlaUe lo ear. opera, aingnt^wid ballet nwdei man or km,
a /••<«. • David, thougli con al dete d as a star of the tot mtfai-
tiide nmonirthe singers of the dar. did not please the crilietof
Milan. I'licr found his style vitiated, his oriiaiiaentt wfahniicnl
and misplaced ; and complained of the affectation, not to in^
abuse, of his falsetto voice. Neiiher in the recitativo obbU^ato
nor grand air of the first act, did he make any impression ; nor
was a single hand raised to applaud his cxeculion of the grand
aria of the second act, thoiitrb he exhausted upon it all llie r«-
siources 4jf his art. Ilis .action too wa* •evereiv crili' ised ; the
uai's terni it nrlrrhinrsco, and remark that it is (giiite in its
nroncr phicr. the sin;.'pr being a native of Iteriranio, the
land of har^eijiiins. Some of those who had Nceii the nu-
merous and costly presents that were lavislied upuii Daiiii at
Vienna, are all nmazcmeut at the reception he has met with
in Milan.

With respect to Pacini, he deserve* to rank as one of tlie heU
■monf the apostle* of RiMiini« and ia by no mcana deroid af
liincy. In the present imtance, be fiimMied two dnela of nn
ordinary power ; and if be bad no higher aierit, conid at leaat
claim that of liaring the coonfe to omit the faihtonabb cf*»
teendo, which is railed Rossinian, but which Ifeaen hiidly
claimed ns his property. The piece has no overlan, but open
with a short introduction, accordinir to ibe pmeot iiishion,
which it is said the modern Italian eoinpoietW find B rery conre.
nient one. At the close of the opera, there waa a spirited con-
test between the claqueurs and the hitscrt, but the mneslru and
singers loiik it for granted that all was right, and came forward
without ceremony to foMlnaiilmttirUnit mom '^f'— *^ M

proiv tiresome.

Of the ballet there is nolhini; further lo be remarked, than
that the -cenery anil decorations were porgeous, but the dance*
without novelty, and the kitiiatioiK ineffective. Oil li e -..Irr--
quent representations of the opera, the seats were oll^,•l m il to
grow gradually more deserted, and David omitted hi * lirsi c;iv:i-
tina altogether. The piece w.u witttdrawn after the fourtli
■Vhib and Vaeoyit Aawe e Giulirttm wbatitMed in Ma piace>
VENK K.

MERrAijAVTH a new ofK-ra, An Jionnn Ciin'h'a, r.intinues to
train crii i'id in the piildie favour, and really contains several
p.eci ti of iitr rit far aljuve the roiimion, 'J'he situations of tlie

poem arc aiao good, and afford lereral favorabte opportonitiea

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THE HARMONICQN.

907

for tli>- (lijiphy of SiiTDura MomlMUfa powan of Mllilf, u wall
ai her errni r«pnbilitiacin BOnf*

Signor LoMtclli. iiiea>MiiHat ii the Ttmm Fmfef. liH liMa
Jhrianttinepaak aafi f e d in rarminfraDav appnratits forlifht.
l^rtlMattcib Mrflinal bat brouifkt hit plan to perfection. He
kaa tka nmn bmtU fai «ka Umingft u amnl iwicniiiic i^en-
thman. aW amwif Hm Hh wd H tBo i ni Caam Kumronl. at-
•ai^lladtbiit williaat auccew, t» dni a mean* or ubvuitiii^ tlie
limwailjf ilf tlllfrfl. which are found «n inconvenient in theatres.
The new inethoii, ai applied by Sipnor Liicatelli t.i mir tlir«irf ,
1m completely »uceeeded, and leave* nothing to lit- leMi i ri. Hv
the aid of pantl>oli<- inimirs, tlie liflit of a certain nuinljcr i>(
lamps i« conrcntrntrd ovir an ujirnin? made in thr ci'iitre of
thr mlinir of the lliiMtri'. and n-rtcrtcil down i>n ii rnn^p <>t
planiKciiiic.xve lensrs, of » fiml in liiinidcr, wliich ocrupy the
apprtiiri". nivj lonrm" into the t!a>,^tre the rays of lii;ht, wliich
arrin' At t ieni in pKfiillrl, and depart i'rom tficm in divcrerenf,
line;. 'l'lie>e Icnui are percc|<tib]c im\y fruin the nit, aa lecn
fx.ni which they resemble a (;luwiiif nmact; m, Itltlmirh
tlie luiiiinoiu fuciu ia lufGcicnt to lie ht llie wkole tbealte, it dniet
■at danlai and aiay be viewed witMiat fatifuinf the eye. The
hifiA thui pndMCflr betldei the adranlaae of bein? mure mild
u4 naM eanalljr dhtoilwted, ai emitted riruin a ain^le luminous
bedfi iif at Mm aania tine, more intense than that of tlie ancient
liMtm; aiid andi b Iti power, that there is no part of the theatre
In wiricli a person cannot read with the greatesl facility. The
apparatus neini; cnlirely conceslcd. acrommiMlate.'! itsd? readily
to all the chanpes vrhicl'i the rrjirfsmtatiun ran re^j iiri*. It lia»
the further advantage of pniducing neither smoke nor bad
(..ioiirs, n iil. in a vrufd( bffeefreatall tlie iaegiif anieacaa of

the aiiciuiil svntr'm.

nor.oGNA.

Wu cannot witliliold an extract frcnn // Co^e' ilt Prtrnnio, a
jOMrnal of \>...i i\ ns a spetiinen nf Itolotria'se tuodo^tr.

"In the Ciursit S,^^al•ill, a Hii/Hieia perfonncd, fur tlic
rr ) I ■ iif till- b<iul of II Pailrc Maitei. The /nrifa^or/uif and
the I'»a'iii8 were by tlie late master. Dal Pini ; the 1st and Sod
Leason by II Mantra Ciagani : tlie Srd Leaioa» the Man, and
fMf M-'eai, wUA were fruoi tiu pen ef the nedlcnt Bwater
iWaauo MaRhci}. excited unifereal edatiraliMi. A Fuga
fwab at the end of the Kyrie, and the whole JKe* tr», were
niarked by the hand of a master ; truth of expression, nobienens
of iiielodv, eleamcH of harmony and power of cuuntrrfMiint,
niark it t^roii'^1i<iUt ; indeed, it is by those chararterlsties the
classical nia.aiTi uf the Bol«f;itese scliool are distinguished.
Hence, wlicn wc hear the re^rc's tha! arc not unfrct|UCDtly
uttered re»p*ctini5 the Kms of tlir old rliiirch music, we cannot
but wonder at »nrh inciin*i>teni'y. Heside< the exeellenre of
her nuirtfri filarmoniri. tlie rity of Bitliiiriia has to pride herselt
on her matchless iniiiiiral araileiny ; fur, without making any
pdioiis cnni[Hiri»(in<. it pi»se'>.e.» nunierous and able master*,
liicn of power (raloroti,) as its nicmWrs; for instance, a I'al-
ini-rini, w Marche^i, a Pllotti, a Tadulini, a Hortolotli, compo-
ser* will) cxrcl in the free style, and yet, at the same time, are
worthy siieceeiara of a Martini, and ft Mattel, and eaatinue to
pmmnte the fiery of the Bolociieie aehool by their power in the
HVaa end afiiet a^. Beld aa Ifae opinion may seem, we are

IM alinrid te aantt tint amrh n dei^rec of pniTiciency in both
•tyles of mnaic ia unknown to foreign compoaen." — We have
made diligent enqnirr relative to thf Hit of etrni posers above
riven, whose merits the journalist trunipeta forth so loudly. Of
the first wc can iraia no lidinj^s ; the second is a theutncal ar-
ranger ; the third, composer of an opera of which 1 could not
learn the name ; the fourth, aUo composer of an opera, and
fiiniierly tenrlier of the piano at I'aris ; the fourth, player of the
double 'bass, in the theatre of this place, waA, aa the term is,
frineipe uf our I'hilharrauntc society.

We incn'ioned latcW. that' the eel'lirateil mmiVo, Mnr-
ehesi, known hy the name of Man lifsiiii. died lately here, nt
the advanced aire of '•.5. M'r li ,',r i >li I i ined the following p.ir-
ticuhir* of this »ingrr'« lite. ll>^ w;t« a native uf MiUn, tind
bom in 1741. He received lli^ early instructions in music under
the well-kauwn Fiuroni. Hi^ Hri>t appearance was in Koiue, in
1774k in e fcnde dmiacler, the absurd prohibitiun at that
ycried eziitiaf b (he Phpd Itatei afaiost women appearing

on the etage. In 177&, he performed u a (
at Miiaib Ik the earn time with the ceUvntei nwririantti. mdl
allannwHelViMdee, wMi Milliee. Im ITn^he WMadTaaeMtv

the nude ef iint-rate singer, and enmarled a pilnclpal Aa r ae t er
in Bianehi'e opera «f Cattort e PiStnt, ana aflerwarda mtta

AekUk i»Seim of Sarti ; this was on the theatre of Florence*
After having been for manr yeart the admiration of the Italiam
on almost the whole of their theatres, be travelled to Germany.
Russia, and lastly vi«ited Knf^tand. At I'elcnibur^h he had
the g'oiid fortune to meet with the celebrated Madlle. 'IVmII, and
the coMipo>er Sarti; in Atmiila. an opera of considerable power
triMU the pen of this composer, he &iintr with this lady in ITtifl,
an<l their united efforts called forth an enthn»ia»m till then nn-
fciioari to this capital of the north. It has hecn estimated that
the pre^enti, &c. obtained by these three :ir:'.-\i durin? tlu'ir re-
si<li n( e here, anmunted, at least, to l.'),0 lO routiles. A isnull
bov set with cliainonds, which Man licvini received from the Kni-
pres!i, was nionc valued at 200. In I7S8, he visited London,
where he also reaped a rich harvest of ruineao. He made his
debtkt at tlie Itdlaa Opera in the Giulio Subino, an opera of
Sarti, ia the beavtiiul mnie ef which he ehtained inaMMa
applause. He leaided ia Leaden twe yeeri. If aieheeFe atyle
of singinf waa BOt only degant and rained to aa aaeeaHaoa
dei^ree, bat frequently grand and dignified, pertienfavly In the
recitative, and occasional, but wall-eeonomited low notes and
chrumalie passages. His varictyof embellishments, and facility
of running extempore divisions, were at tliat period coiihidcrcd
at lillle sliort of the marvellous. Indep«n<lenily of his vocal
powers, his performance waa heiphteneil bv the lieaiity uf hit
person, and llie pracc and propriety of liiiactiun, an arcouiplihb-
nicnt the tnor" valijaMe as it is so rare, and conseipieiitly so nn-
cxp^'ftcd. 'J'hiise who went for the purpose ofhcariu'r an ex-
quisite tiogcr, were surprised and delighted by an admiiabie.
acter.

Fi:unAitA.

Tub (season opened with I'.icini's .V/n ' / i/'/c, whirh intro-
duced to the public a new Mnpcr uf no common lucril, in the

terson »f Si!,'niir Hasilio Basili. He is the son of the well-
nown compo»er of that name, who Alls the ailoation of Maeatro
dl Ganeila at Lontta, ia whkh ttaaOoa he WMcaedcd. the cde-;
brated ZingareUi. CIritiea tpeeh eF die geedaeia of Ua nboolt..
and the p<^weraadiedbOityor hii vvke. He la Bkd|y to praw
a most important addltioB to ear Bit of artiati.

PRATO.

Tin; season opened with Cnccia's rharniinc opera of Clottt'le,
uliiili |i|.'a>i'il rslriTncIv: il ii a- ^ii i reiled Ijv Ko!isini's Ingan-
n-i f' lirr, whirli inlrniluri'd to tlie piihlic a new sinj;^cr of con-
si'ieralile proiiilsc, of the name of Valeiio Mordli. The jour-
nals s|K'ak of him as pussessiug considerable talent as n buffo;
he met with ef cry CBeoufafaaieat In the applaam of the ati«

dlcr.cc.

PAUIS.

TiiRRB arc at present, in Germany five simultanenus transla-
tions of the Damt Hlanehe. It has been produced at the
Theatres of Fmokrort. Vienna. Berlin, and Siutgard, nearly
at dw MBe tbae. The firat npicecatatkB teak place at
FranUort on die third of September. The Oetmaoa, wbc^ so
far as regards Uie story uf a play an not very fastidious alid^-
lera fur verisimilitude, but who rcqnire at least a good deal of
inferrstini; tcatter in the diifercut acts, sat cool speetatun Up
to (he scene of adjudication in miuic. At that niomeiltdw
audience burst forth into a thunder of applause, and the sueeMt
of the piece was decided. In otiicr rerpects the Gennans have
done ample justice to the niii>i.' »f the French cotnposcr, whom
they term " the excellent H m I lieu " and cicry portion of tha
harm(mv was apprreiateil with the nuist delicate taste. Few
of the French jiuirnals have done «« much justice to it in their
nnalysix, a* il has received in the classic litnd of harmonic
*cietire.

Mile. Soniaf, after her arrival at P.iris from Buulugne, set
out the next dav on her return to Itcrlin.

A concert given at Saint Quentio, for the benefit of the
Greeks, (iroduced the sum of gTOtt figica . llriB to the iiaidt
subscription of the fcneraui inhiUlntl «f the lam, Tht

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90B

THB HARVONIOQN.

AmlwM «1w Mag fai thb tmeeii fwral H wwt l w w to pcMies*
M much tMte u IM^ aad tke yoanr lidies who were prompted
hr A noble fiMUiif to Miitt wHn tli«r talentt io tturei n cause,
au belonr toth« nioit honoiiriible ftimlliet In Saint Qncritin.

Mlle.C«n2i, a younr tiorer, born in Gcnnany, but vv)ii>lin«
trareUed and performed roaca in Italj, ha* lately made her ap-
pearance at the Theatre Italien, in L« Gatxtt Ladra ; the
aecond and third time* (he performed with more nurrrss than
at firtt, havinr orercmne those fear» which were iKanifented at
her debut. The character.of her roicr, whirli has *nmc shrill-
neuin it, enabled her to produce a i:ii<jJ ptTcrt in thr funrrrted
piece*. Mile. C. haa tince appcarrd in tlu' cli trui ter nf .Imr-
ntiidr. In the o|l«ra of Tanrrfili, i\ part mnrc faviciraMc to her
than that of J^inelta: she sliewed some t;ilent in liir <!iipt with
Madame P.'istn. In the priaon »cene, in t^ir frciTnl .n r. ulic in-
troducrd an air of Manfropffi, with a Tiolin arcoinpanimcnt, and
obtained some applause ; but the cotnpoiition was more suited
to a saloon than a ceil ; and, whether appropriate or not, the
nil lappartm KDd Jadget of tbo ItaUan open* ban alwaj*
AnniofSd of tlww {ntmiiont. But the biltcr mw ailent
wtf^n^aaainltarawtwdlw M Bf i the cfaMtmun toniWthe

Aklticlh we here witoetied the important erent of (he first
repieieauthm of a work of Mozart on the board* of the Odeon,
and by aimlnn it was hailed a* a real mni>ical (olemnity. The
house waee i wrte d to excels in a!l part*, and more than six hun-
dred person « are aaid to hari! been unable to obtain admiuioa.
The noreltj on tht* occi^iun wm the rrjertion hj M.Caatil- Blaze
of the old iniipid lihretto of the \ozze tlx Figaro, and the adop-
tion of as much of the clatsical roiiiedy of IVaumarrhait, as was
compatible with the nature of the subirrt. But in too fastidious
a rcjfard for the text, the amateur will have to reijrcl the omis-
sion of several piece* ns familiar as the name of the opera itself ;
forln»tance, the tender and pennlve ra\.ttina Porgi amor, as well
as the brilliant little duet, /tpritc jirrsto, aprite, and the Scx-
tiiiji I> riua ma.lrr. luivc lii'^appenred, and the reason aasig^ncd
is, that tlicy tended to imprde the action I Good Heavens I
were this canon of criticism to be carried riquroiisly intu cfTi rt,
what would become of half tbe operas in existence ? Hut to
awke up tnr thr^ic curtailment*, a beautiful air «f Fifaro,
^fHIt un pn gtiegt oeehj,fehlA it bai been the cntoBto
«ni^ tu been reetored to la phee^ aid afnawl tbttB. Ukjet,
or fatter, iftfidMeo epeik tno, ct Cnaeevliai. ««iif» «m>
tarmd t anima tat been taeerted in the fourth act! What the
cfilka of the food old aehool wiil lay to the latter arnuipiiKnt,
hearen only know* ; we can only remark, that the time waa when
such thini^ would not hare been suffered to pa«* off ^juletly ;
but Trntpora mutmnlnr, etno* mulomuriA wUf

Tlie pc r I' >rni«ni distinguished themselTcs by their spirit, rig^our,
and idrrrrtness, and, with <ine or two exceptions, garc to the
iiir.i t}ii'ir triie sli.idiiii; ;\nil ctuir;u !i-r^tii- f\prc»sion. Amon^
the ex(('|itii)ris was Modonvillc, ivliu introdmcJ several very ill-
tijneJ lli,'!its of roLilarli 5 in h\i Ijuritoue air, and wc were sorry
to sec hiai covered with appl.iiise for (his outrajfc upon gi>ud
taste.

The intrepid orchestra of tbe Odcon had long wished for an
•portunity of sig'nalizitu; tf riiisi lves in some work of this prince
eff BUiirians, this grr.'»t head of all the iicbuols. It has acliicved
• new triumph in tbe Mariage ile Figaro^ But in the vizour
and impetuosity of its play, it did nut for a moment lose tif;ht of
that purity of t/kftt, tnat dearneas and precision, demanded by
music so perfect IB all itedetaOs. The overture, the wonderful
fiD.ilc of ilie firtt act, and the nMted aummenU io the aemd,

were admirably (tvea. *^

The too frequent employ, I might eren say ahuae> of orches-
tral effects, *o cunmoD in our days, luit tended to corrupt the
public taste. Accustomed to tbuie imposing masses of harmony,
BO often employed m contradiction to common sense, and to
those (lotiri^binc, yet unifurm cadences, which are appended in-
di5criii;in,ilcl) to every air, duet, &c.. howerer opposite its cha-
racter, it is no wondrr (he public tdt surpri»«d at the abieaceiu
Morart of ilic now fasliionable crcjccndo, and the rouhlde
which is rfcriil.irlv t.rt a catch-lrap f„r anpLiu^e. Tlie music
ot the Mi!,iii!r> ijr I'ignro is !<ini|ile, fr^ci-fnl, druniatic, spirited,

and conducted with wonderful art, though that art is happily

eanasMlrf ttaaiHtcr. R is a »aab tkat la dtrnji ImmI

with fresh deligiil, and its rich and elegant detallt aaiftt ataaa ta
awaken the most pleasing sensations. But thaa Mkmt ll a At-

pliritr to which the pit of the preient day ia not aocuitomed t at
the close of the piece they wait for tlie signal to applaud ; but

this signal the author has neglected to ^to, and for the best of
reasons, because it would have been in contradiction to dramatis
tnifh. But though, for the reasons here g^iven. the applause was
often not tttmultnous, let it not be imaprinol that the beauty of
this divine music was the less felt nr admired. We ban no
doubt In.' tlie Micceu of this piece will le.-xd to the pruducthw af
all tbe other masterpieces of this truly great compoeer.

WORWAY.

A comic npcr.i entitle<l FJtlJcrrntyrtt, or the .\dventure in the
Mountains, was published dnrinij the last year at Christiana.
It is written by Mr. H. .\. Ilicrrcgaard, and m l lo music by
Mr. W. 'ITirane. Of this work the Revue Eucyclopidiqua
observes : " Two motives hare induced us to notice this trifle.
In the first place, it is the first comic opera which has beea
wrtUen and set to music for repretentattai in NonnMr.l TUi
country doe* not yet poescss any pubHa Hiealna ; bat la aB lb*
towns there area finr awtaan whv idw mnMhaand aeMia
operas during the wiatir. Vheta ean db little doabt. la ww inr,
that the town of Chriittma. vUeb baa doubled its pepalallaB
within tbe List Iwelne Tears, will soon deem it neeesearyto
establish a regular theatre. Our second tnotire, i* a more
powerful one, and we seize with pleasure an otiportunity of
making known the Author of these words. M. Ttierrrpaard is
one of the aieet dininguithed advocates in the Stiiireme Court
of tbe kingdom, sittinsr at Christiana, ft waa in tliis capacity
that be opened the sittings flii.'i year, by a di*ciiiirse breatliing
an anient love of country, ami a sincere attarhtneiit to the in-
stitutions ami the ci)!i\titoliiinal liberty puaranlecd by the fuo-
damenliil la«' uf the kin^'dom. The opera displays consider-
able Talent anil s;iirit. Tlie subject is purely rictilious, but
being quite natiuual, as well as its characters, it pleases the
Nenregiaat."

JUoon* ef the Addenda to the ITorfeaUrw

Mtmcal Meeting.

Tm iUfanria; paragiaph mw accidentally omitted In the ao«
count of tbe Yorkshire Aawtawr Mectiny ia oar last aaadier.
It uiii^^lit to have preceded the last finir liaee of eeL I, p. 18&

.\t a little before 0 o'clock upwards of one hiilldwd fCBllesnil
»iit ijiuvu to a tndy sumptuous dinner, which was serred on one
tali'c oulv, in fl>e u'ceat .\*sen>b!y Room : H. S. !!rli nnili, Iil^i|.,
SI.D., in tlic Cbair, and the Rev. W. Flower, \'. P. 'J'ha
proceedings, which were highly animated, are rcporteil at length
in the Yorfcihin Gaiettc^ but ve afaall content ourselves with
Rtatii« tha* like Toeslists, whaaat Mfctber, muHmtA aolea
than thirty in number, aai thai HUk p e t fal B Wa aana ta
have afforded unmixed g raH faat l ea. Ita Adn mn HkM*
qaeati J taken by tte Rar. W. Blvir and Mia CnMe» Bh.

UiMwn this head w« have notbnig to ranailE at prctent. The
two Winter Tbaalna haw i^ed, bat with no novdtin af «
masicallciad; aainj* Iwrever, arc promised: Buicldienl Anna
JUeneAeis preparing at both houses ; and, at (%jvent Garden, a
new opera, the mutic by Mr. Horn, is in rehears it Ti e E"^-
Itsh Opera House, as well as the Hayinarket Theatre, con-
tiuue lo perform either what has already been noticed, or that
whkhisof too ancient ft date to entitle it to aaifobearratinBSi

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THE

HARMONICON.

No. XLVU., November, 1826.

MEMOIR OF THOMAS MORLEY.

T» Am ra^et of At pwi wrt memoir, both u « compowr
and wiHov bdwifs > wj eeowknons plae« in the nao-
■ieet hbtoty of liin oooiitiy. At a conpcMr , he wai la>

ferioT to none of hu predecessoni or contemporaries, and

m a writer he 'in |>articularlT distinguished hy having been

the author of the first treatise on nui-iii- tliut wiLs priiifefj
in our lanpruufre ; a work that for nearly u century und u
half held its rank as an rinthorlty unrii'ipntMl, and which
Onj^t still to be read liy every professor who is amhitious
of arcpiiring: information (hiit U ti l'- to cnlarpc his know-
\edf!^ of the art; while to the antiquarian it furniahes
abundant mttCT oT gfcst curioaity and ctHUidcnble im-
portance.

Of the life of Trokai MoaLnr onr information ia wry

■canty indeed ; as much an in known of him is (gathered
ftoni Wood's Athente Ozoniciisii, whence wc Icani, that he
of tha centiemen of Qneea Eliaaheth'a chapel,
[ ndbKM* or Biidcii fbr wlioai he ever entertained the

„ jMe end most ahieei* rnnrd, which be

■hewed and nfowed in the dedication or h!a hook to hta
** excellent maister." He obtained a' Bachelor's degree
In 15S8, and wns <!worn into his place in the royal chapel,
July '2 1. 1.')!)?. It is uncertain. Dr. Unrncy says, when
this inffeiiioiis and studious musician died, but it is sup-
posed to have been bIkjuI ttie year \00i. The titles of
his works, with the dates of their publication, are thus
given by Sir John Hawkins : — CanzonHa, or little short
eoui^s to three voices, London, 1593. Tlii' first book of
Madrii^ah to four voices, 1591. Canzonetx, or little short
Aim to five or six voices, 1595. MadrigaU to five voices,
19M. ■ Introduction to mutic, 1597. The fin<t book of
Aira or little short Songt to sing and play to the lute, with
the base riol, 160O. And the first book o( CamonrU to
tiro TOiete. IMS end 1S19. He aleo compoied &rnMt end
, tte woidn iriMmf era Minted in Janice Clilhid's
^ JDMie-SeraiBef aniT AvUfmt wm^mam in
A SSirTioribr the hoilal of the dead, wldch
iint set to the words of our liturgy. He also
CoHeeted and published the Triumph* ofOriartaf, inadri-

* Thb book is nrf froqarallr referred (o by Wood, AlAfn. Orim.
ll is a c<)ll<xtion of the wofiuonl^ of ihr m rviren anil iin'.ticnu
tlirn u«u.tI1. H-n-.;, j>rinlcd in limn' irci. Tli- . . n |i !• r i-iiv ;i
Bstirc of Otforil, ■nd a cboriiler of Maptalen L'oll. tri-. afnTwaidj
• ■iaotOaaaa ot SU mVu, a laa^tr ia sdom ehurrh nmr (Jart«r
hnm aad also CbapWa la the SacMty at Ssdcaai'i Joo.— (Sea

t TiNaa lli4i%Bls, twcntr-root ia aoBher, of vhteh the ISth

gda ibr Sve end ii

1001. A ad er.tv* ef lUdin MwMiiale to
worda. OoneoKr IjmaoNa, mod'e tftver* ejtqultllt au^

than, fir tbt diffamt imtnimr nh to pbiy tagdher, viz.,
the Tnile Lute, Pandora, Citti-rnr, Bate Viol, TlHte. and
TrthleViuU. Di dk atcd to the Lord Mayor. 2d edit. 1611.

It does not appear tliat any of Morley's ehuich-music
wri'. (irTiiifd diirinfj his life. Dr. TikIwun, however, has
inserted sevrrisl vulunble choral rnin])ns',t ions bv biin, in
the colleelKui made ti>r Lurd llarlev, 1715. In Queen
Elizabeth's inii'^ic-book tliere are likewise five different
sets of Ic.ssons, or pieces for the virf;;inal, composed hy
Morley. But Dr. Buroey juMly observes, " he acquired
more celebrity hy his treatise, entitled A plaint and eadt
I.NTuooucTioN to Practical Mtuicke, than by his perform-
ance or compositions, though eminant lor both."

This worit is dindad into three parts ; the first teaching
to siaf, the aeeoad tmrtingof OcjKaat, or the method of
eonspoaing', or atnglgif on • piidn song, and the Ifalfd ie
on compoaitioD in Area and nnne parts. " Eadi t/t tha
three parts of this book is a several and distinct dia1og\ie,
wherein a ma-ster, his scholar, and a person competently
skiSled in niu'-if, art the iutcrloeu'.ors ; and in the coursfl
of their conversaiiun, so niuny liule particulars occur
relating to the manners of the times, as render the pemaal

in ksaav al Qnatn Elisabeth, wIm is egwed uader the naoia of
Orlaim. The coro p g w is of die rest were Michael Eale, Daaiel

Ncirc<)rn<>, John Momly (Bachelor of Muslr.) Kllin Cilibons, .lohn
Ri-iu I. .lulirj llilinn, B. M.,Gcor^r Murson, II. M., lt.i.luird CiirlioD,
.loSin llnlnicn, Uictuird Nicholion. 'I'lirtmii- TiMiipkiiiB, Msiliael

(awi>(il-h (Inc.ll,, I U. ■Ill- iil.Lr-tii' or -ti.' I >, VMT;vMi:r r,.[:ulv.l Wij.

lutm Cobbokl, JoiiB t'arracr, Jolin Wilbje, Tiiontaj iiunl, B. M.,
ThoauuW«dliM,Joaa MiaToa(isihacof Utajpaaipaal^GeaiM

K irhvy, BobcTt 3«ntt, Joha Lcaief, and Edwara JohasoB, 9. M.

As tialy earr the ton to the rr«t of Binope> bat partieularly to
Entrland, in all iIh* flaearta, durinjctbs taiga af Bllabelh, it K-enii

if tb«i idrn of cmploTinic »ll be»t coinpoien in the kiriKilom
lose" the kii llie Tnum/jJii ofOriJinaln music, in h'>n^;r I'f

our f agin Qr.' i n, bur] been tu^ctted lo Moilcjf, aad hi* uiitrua

the Earl ot Noitinslmm, bt Padia Ciortasl^ a ft eiw asto Biiiiio|iof
Saloaaoi who finploiiHl thntgr^erca of the awiat i ' sa a » s« J cempoJ
safs, ta sal camoarlu aad laarfricala, ia honor of the rirffM Hary,
pabliihed oadai the foltowias title : Tempia AnuMiea drlla Aeo-
tiitimn I'iritinr ntitirn Siifnaja, fabfiriciilM f»r opera iM I'. Gio-
»-ii;i!c, \ V , .1, .„nfir'rtalirn'^ Irir oraUiria. I'hma jtartf.a tr*
pod. Stamjjaua Ho ma da Nicolo Molii, IS99, in 4(o.— ( ««mey,
111., 101, DOte.)— Of (be colleclioa that pabliabed bjr Morley, w*
mnai mj, that, like manr.oihcf voriu of an, aol (poataseowi; pia-
duocd batfahricatad asssi^&V I0 »>ay aslubit aji alatgak
brokea seiias al lahoaicdi *yr cald,ceiia«laa«pesMionfc— (EdBir
^Uanaomoeii.)

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SiO

THS HABMOmOON.

«f A* look in a great degree entertaining t9
■noMcqmiated with thewljeetof it*."
Fwm the opening of tliis dialoguo— wbidi wm hem

SM flm tho ot^ind cditioB of 1597— H will appwr.
■I marie wm fn the iiixlccnth century not leas generally
cultivated in England, than it is in Germany in tliL' nine-
teenth, and that to be ig-norunt of its principle's an<l uii-
sliilleci in its practice wn* u itcrc(.-<. !ti tiie tihication of
cither lex, uncommon in the better claascK uf sudetji and
aot wy iMlif tawsed.

POLTMATRIS. PaiLOMAmt. MUTIR.

Pilgmiaktt. Stare (ImiUicr PkOmmtka) what haite?
■tillni tn tm M MT
PUttmi&ef. Ta»»a»mmMMKittmSat.

FW. But More jm yoe, I praie yon repeat tome of the dJ«-
coonrt wliirli yim had ye*ter night at matter Soph^bulut hi*
banket : Fur couunonty he ii nut without both wife aadlMnid

Pki. It ia true inderde. And yn(«r ni|rhf, then tNtta
Biimh?r of excellent iu!lii>lleri (buth gentlemen and iithera ;) but
all ihr propnae which then waa dimmned rpoa, was nmtielw.

Pol I tf w«t ' ) urn i H ti iwHalid l» wibr aft w to i p whi «f

th»t nisftfr.

I'lii. I tlint li.ni bfcn llip worst : fur I rii-iifu'llril

t') disriHit r mine own ignorancet and cuofetce that J kocwe

kolliini;^ at all In it.
Pol. How su ?

Phi. Among the retti of the rneitet, hy chanre. Matter
Aphrw caaie tkether alio, who falling to dneoarte of muoieke,
«M laaiMijnMWt to quieMf takm n and hetiy portned by
Jfii Jw rt it and Cm Uvgrnt , two H w i i n •€ B^k^M^u, a* in ln>
•wne art Im WW ouerthroirne. But ko alitt Hiekiif la M*
«|Mniaa, the lira gentlemen requeetedmeto •xaminalibraMoni,
•■A-eonfute them. But I retualag and pretending ignoraitec.
Iht whole rompanie condemned nice of duMiarleaie, being fully
penwaded.that I had beene as nkiffnll In lliat art, ji% they tooke
Biee to be learned in nthcra. U-it cijiprr hcinef ended, and
wnticke bookm, according to thp riist.inu^ W^ing brought to the
talili*. tti.> iiilstrfsje of the house prc^otited tote with a part,
earnrstly n'Tiifslinff mee to »inp. Hut when after name ex-
cuses, I prtitcitcd rnfaioedly th»c I e<jii)>l md, euery one began
to wiimlfr, yen. some whiKpered to otiiert, deiiianding' how I
•WHS hroufht vp : tn that »p<'n sli.imn of mine ignorance, I (fo
aowe (o »fekc mine ulde fnndc master Gnorimui, lu make my
•elfe bit (cboller.

Pol. I am glad you are at length come to bee of that minde,
Choogh I wtthed it aooner : therefore goe, and I praie Ood lend
YaumckgaodtMeeaMaayoBwanldwiihtoyonrtelfe. Ai for
liMt IfMto hian aaaw JlaM«MNM0 Lialairea, to that, I

4I|MwS flbsst liHft VMI WtBf tcttt MMIB M ttBT lodciwF*

Pki. F*i«Ma.fiMrIiiiapMilMnmlllMba

ftre I will

Bat

vmm Itanm HIM bofnti ikm
ittff teMt4MriMd.1«« Ha

KM ft

httt I

•eeke titilag at yonder doore, ont of liaobt k {• hee.
•hoaM «eeme he itudieth vpon some Mint of made'

*rill driue him out of his dutope. Cood morrow. Sir.

"The dialo^e being ended, there follows what ihc
mQwr catla the P*roratio, in which ho
learning : iu it he says, that hud It not been for Ductiiii,
the kiiiiwU <ig;^c ot musip had not yet cunie into our western
part of the world, adding this as a reason. 'The Greek
toniTiie lyiup, as it were, dead tinder tlie barbariiime of the
Gothes and Hunnes, and noaidta boriod in the boweU
of the Greeke worka of PlolflCMMMd AriatoMOHa^ dM

«M of wUah iMOr^MrMftto l^ tat Jbmkk
' 'HBt bMhNkthH Iff Itaite. ^dw Mfenr

iMJHliil^ Int the ropfes arc enerie
irhcre w aeaut aad ban to ome by, Uiai many doubt

km Whi «tt ««t or tto.*
• *11fMl>Mlnr MTtata compoaMona of the aulfaor's own

• lIawkiBi,Ul.,)«4.

Hi« aniDlatfoin at Hm tod of tho work are replot*

with curious lenminiT ; in these Morley has not apared l4»
censure some ignorant pretenders to skill in music*."

Tlic Introduction to Slusic was trunslated into the (Jer-
man lanpuafrc by John Caspar Trost, a profound musician
of the seventeenth century, and orpriinist. nf St. Martin nt
liulbcrstadt : he pubiitfaed it in folio, uader tJic title of
^* Miisicu PmcUca."

" Morley," aaya Sir John Hawldns. " throughout tho
whole of hia w<MC qiodit the iM^^uage of a sensible, •
l a a nw d, and • pioaa mu. He complains of the aolitiif
life «Meb h* Ml, briog by bodily infiimitioi eooqwUed t»
kecft itbiDiMb and thot ande Ub ciodto loiloMtyBr
whcMlB lolHMpUinMiroMfaiMil iSr tho iMMlt flfbS
•ad m tha eoune of Us woili he takes frequent
to mention (he dcclinlnf state of Ms health ;
neveithaleM he survived the publication of it some yean«.
Doni, in his ' Discorso sopra la jjerfetiione de Mclodia,'
printed witli his treatise ' De Genrn o de' Mudi,' page 1 11«
styles him 'Tommoso Morley, erudiu) inusico Iiigicse.' "

AftiT the expiration of the patent fur tlie cxciusivc
printing of mu!jic, granted to TuUis and Birde, Morley
obtained of Queen Elizabeth one of tlie same tcnonr, hut
giving more extensive powen. It was granted tehins
40 Eliz.. Anno Dom. 1596. Under this patent, WHliam
Barley printed most of the ninsic-books which were pub*
liidied dtuini; the lime that it contimied in ibrce.

That Bmidne ud Bumsy ham aoi in Ihsir hiidonBa
done jusiloa to tha eamposilioatof Mnriey; is bf HO SMiaa
a li^gnbr apiaiaa: teOHd badi these writers are at
riaase wlA tfacassiltee hi criSdsfaig his prodnodona.
The fijmter tells tts that " as a practicsl oampoeer he haa
doubtless shewn great abilities ; he was an excellent har-
monist, but did not possess the faculty uf Inveiiliuii in
wiy very emiticnl degree." How a cxyntpotrr can shew
prmt abilities without lieinsr i^iit<'<l witli n very coniuder-
ablo portion of the inventive (acuity, is not easy to under-
stand. Dr. numey .<iavs. "in coinjMiriiig his (Moricy'a)
compositions, witli tliosc of lua prcdeceaaors, they do not
appear so original as I at iirst imagined theoi." Bat ba
immediately afleiwaids adds, " the melodies, however,
of Morlqr m* sooiewhat more flowing and polished than
those of the old antbocs." If it be idio«od that Jua
melsdte sn superior, tmmAg aimjlMiig assHH to b»
granted in his fiMOH^ hhl dtt ao a Waaiust is lai*
disputed, the period hi ifUili ho Owithhed being con-
sidered. Neither of the learned Ustoriaas has lelerte^
as specimens of Morley's composition, the moat original
and a^freeablc ol' Ins works: the lliree-part sottf;. "See
mine owne rwccI jcwcll," given by Dr. Buri»ey, is aa
uncouth an example as could have been chosen ; and tho
madrigal "Besides a fountaine," inserted by Sir John
Hawkins, though vastiv superior to ttte uLlier, is nut ca]-

culated to inspire tltc lu^urer with a very ikvouimbie
opinion of the oomposer's genius ; by which tcnn we an-
derstand a talent for frasilm. fat lasiBtim^ ag|plied.l»
work.s of art.

Wheth» wajms a been mors t mtmMim the s |i i ni mMa
^Ssstty* ^iliirii aeaompssiy tUo ai^BMiPt ^ast'iia IsB t0

our TCoden to Jeteiinlm : we have nrtari

are denominated his learned works, bat

poMesa melody, display fancy, n«d aie 'pteesin)^
son pie and aopretending Cansonet for five t

• Hawkioi,UL,SiS.

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THE HARMONICON.

«11

tinucd ioT two huiulre<i ye«r» to bp snne;
and miibicHl pwti«s, thoiijjh it has ■Hnce
Sateaf alt very popular music, atul fallen
MBCMMTe p^rfmrnancf. I'ublu tavuiir, i i

■o loi^ • period, i» one of those proofs
iaoimtaaUblc, ivtiatever ma; be urgx-cl
hf ihi ciduan* Mimif«rs of th« «ev«i«
pat wmm, *t eusoaat, is in a diftrent
ftr m fciiiim of

ill most wncerts
ei;>erienceri the
into disuse I'roiii
Litilimu'tl liirrniL^h
oi merit tliat urc
to llie contrary
titj\». The two-
manrter, but has
oixnnion in
am (lauered

Un^ER mOM THE ABATE METASTA8IO TO
I CBBTALIBR DB (THASnUiVl,

AT LANBAU.

fin COT filh Tfo. wf innPrtfi! n leKcr from Metajlanio to the Mnr-
4|iHs dcChastellux, rcrfuniunu'ntf'H to ui b> ft Iriftrnrd foivij^ner,
aaaa anpuMiahed produciioo. 'I'liai our corrcipoodent
■o par»a*d«d, their canool rximl (be mutlleat doubt. Aaothcf
ftieul, bowevci, baa iii»c« pointed out to oa, that the letter
HMMtd to be inediled, waa prioted by Dk.BlKM|y, in hii life
«r»» IMiHl Ijrric poet, h ia *e Ion; rfSMwetead Dr. B.'«
laainir, that the leMar imi qiMte eaeaped oar iweolleclion, till
•ur oiraiar^ waa leCmlted by our coiiesf>oQtleni'* communi-
cation. T!ic ktlcr alreaHy prinfcil waj pn'crd<-d by the I'ol-
lo\> in.:, >»liith w*' r'lvr l;iv.' to our ii Ts trom \hr above
Work, &» it i* rerj inlrrritinj;, and, of coDru>, much coanccted
vMl tkat «• have already pabNiM. Tha laailiiat
wtmtmf on itbjr Dr. Barney, on Ihtwhab «f Ifaa
dvncr, la from the lODie trolunu-.]

** You were not mistaken, Sir. u hen vou imaixined that the
JxroMl of ycmr leamed ami philiivnplncnl Hti;,- tn-atise,
upon the union of music and pottry, would surprine me.
This esjioy is sufFicii-nt to iuanifmt tlie extent of your acute,
«B«cl, and sound jud^inent ; as well as the solid, tinpedan-
tie cultivation of ^poar iMppy talent*. There in no Italian,
4ir-at least none that is arrived at my kaowledgc, wilo has
Irittierto penetrated iu his meditations so near tha priaufy
I of that UTttyaad deUeate ptMiiin, wlueh Um sya*
k produoa, ndiriddiititeqwble

'Tke tnuR, iDgvnioiis. aadnlMl* awJjwh adridi you
fcave given of the rfaythmiu or vocal period in our tin ; the
dear and masterly manner in which you have described

the nprpssity ofiiol loadinff or di.sgiiising' the principii! sub-
5eet of these with unnecessary ornaments, availing >onr-
aelf of the new simile of the naked fi^fure, of whicii the-
Jimb!) ought to be dii^coverable throuph all the pomp of
flrc'-'-' ; the tri^nsitioriT which vml have de^cnlx-ri ir pnssinfr
from «iniple recitative to accompaBied, by imitating the
mtoral provre^s of the possiotM ; these, and other pawagts
-of y«ar learned diaaertatkm (which I pass over, in order to
■void tfanscHMflg Ao whole book), are luminaries, not only
I Ibr their own aplomioar, biit still more ftv'tlM in-
tanMory #hieh they dlaeover to thoee
^MMIvM of them in mom
jmt a h Mw e ly on your mmmh; mi Um
I u ItaUMMd m Mlbor, yon are eatiUed to a
1 af lhaaks. Tet. cztRtnely jeakns of dte
^of ao eidiglitened a Jtidfe a.i a poet, I should
ave wished, that our poetry should not haire had to enry
ike too preiit favour which yo«i beslow on vour music ; its
I an ai«rine<l uL fiadii>|r you ref^^ard thiti the principal
ohjealof a dmma ; and atlribiititi(^' if iwivnurement to the

putotnhip betwcea than being totaUy iiiMlved. JBeKm

me, most respected Chevnlicr, vtlienever music aspires at
the pre-oininpiirc over poetry in a drama, she dertroys both
Ihiit and hei'-i lt If would be too ffreat au absurdity for
(he ohjlheb to dispute the -.uperiority with the person for
whom they nre made, i know by daily experience, that
my own drama.i are mtich more certain of eoceeoa in Italy,
when dedaimed by oomwHino, when sung^ by musi-
cians. Now It lato-be proved, whether the most exquisite
rooaie of an apm maM weeMd if detMbad ftooa «iw
wordt. AinwWdiai«a^^hwMr%«r«Udl7*aeim-
tt« leo fwqnent use, tuilibili ttm whole force of
nriei which is tryinir *» detach tadf fi«a poetry. 1m
such airs no attention is paid to character, ahuatton, AaU
inf^^, <^n!ie, or reason ; and merely ostentatious of its own
jKiwer of imitating violins and nifirhtiiis^ales, it ha-s only
been able to communicate that plecisure whidi arisen from
surprise; and of ncqiiiritig- the same appluusp wluch is
justly bestowed on a rope-dancer or ii tuiul)Icr, who in able,
by tricks and deTterily, to stirjinss coiumoti expectation.
Modem music, proud of such success, ha-s daringly rebelled
i^inst poetry ; and neg)ectin|f true esprension, and re-
ptrding: ull attention to words as a downright slavery, has
indulged herself, in spite tt common sense, in every icind
of eeprioe and extra vaganoe; making the theatre no longer
reaomd «hh wy other qtplauae, than tiiat of these arte M
brtmrmf wHb lae vain immdotion of which Ae-hM lia»>
tened ber own Aagraee, after having, by hcmdveMlkn, '
fint oecaaioned tl^t of the miaerably lacerated, Asflgured,
and ruined drama. Pleaaiures whia are umU* to iirratifjr
the mind, or touch the heart, are of short duration ; foe
though men corporally mfkr themselves to l>e easily cap-
tivated by unexpected mcchaniciil sensations, they do not
for ever renounce their reasoiung faculties. In short, this
vicious t)»»te is at presput indulged to siirh an intolcrnblo
excess, that 1 shall pilher soon consent tliat this fugitive
serNunt slmll be placed anew under n tutoress, who can sa
well embellish her, or else, entirely separating music front
dramatic poetry, let poetry content herself with her own na-
tive melody, such as good pooto never fifil to Ihmisb ; and
let the other be emploved mtanlMr the various voioefl of »
dionn, in regidatipg mtl
theateiMofnr
bnAIn,

"I ArndduBt eoon be tired of rpeaomng with you, tHt,
on this subject ; b)it my neccesaryavaeMtiona rob me of att

lei.<rare for pleasures of ftis kind ; therefore hoping by my
obedience to have merited in some degree the eonttnuanca
of that favourable propensity with which T<m have hitlieit*
horiiMirtsI nie, unsolicited, I remflb^ deCfl^
gratitude and respect. Sir, Ac.

The preceding ktier to the Chevaiicp de Cha*te}!«x
seems to require a coimtienlary, a-s it lel&ios to a musical
controversy not generally known in JCngland.

Tht Chevalier de C'ha»tellux waa an officer in the PVench
goards when he published bis ingenious JSisoy on M« Vnion
^Feitry and Jfutic. He was aAarwards advanced to ite
■fukof brigadicr-feoeral, and eetved with great «eal adf
aelMlj a tha «tda eftha AaieH— Ik the late

Pravfeue to w|ilch*he bad _ ,
in literature and taste lathe fine aite^ lha|ilh HVlipbaVip

received into the French Academy.

His essay, of which he hitd seat »4an to'M etaalaefclt
was the coosequencc of ri voyage into Italy, where ha
seems to have ad«>pt«d an exclusive lasle for ilie dramatic
music of that eowtry.aa Jto M saeaii kad done brtbre. iiw

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THB RARMONIOOV.

boMngwimS^'S^^ hoA i^f and ori^

gindly. B; hU iillM<i««M on tte aanleil -mira, he not

only oir«tul<.>d the municianfi of France, but the lytic poets
of ever-)' country ; not Kcnitilinfr to assert, that in an Opbsa,
" mil-tie," \vlii( ii oufjlit (i) lj« Ihr- princijxil ronsidfratinn,
had l)een too long- u slave to syllaliles : for since the rulti-
vation of tlic niclo-droraa, it "us IuuimI lliut riuisic liuil ils
own laD^oge, its tropes, iiiclaphurs, coliHiriiip, move-
ments, pa.s!)ion9, ami exprcHsiuti of seiitlriii iil.

This little tract guvo birtJi to a lnii|T controversy in
IfttU^t in which the author vsus atx-tted hy tlie Abbii
AxamAt the late M. D'Alenibert, the Abb« Morellet, and
M> Mannontid. His chief antagonist was the author of a
TkhUm tm. tte Mdo-Drmmn, who, loving poctiy better
Ihao mriflk wMwd lo sadiM tin opccm to • tiUN ndtative,
(K immM dedanwliaa. Ihnii^ the Nbaaqueut finds be.
tween the Glnckirta aad FtedaWi^ th* mmuHt of dw
Chevalier de ChaMelliix CoUsled with the lonMr, ud hit
friends with the latter of these sect*.

Tliu f'^'^iiy ill i(iu-stiuii i'i cort;iiiiIy htitni1iatin|; to lyric
poels ; but Mili only seem uim asonaliii-, [>eriiaps, to tluiii
ami to those who prefer dt'claiiinlion Ui ^iiiLciiifi'. To ulliurN
the author will appear possessed ol (;u>h1 taste aud sound
reasoning. Indeed, lie was the first French writer, after
KouBseau, who saw the merit of Metostasio, and had a
true idea of Italian music and lyric poetry. M. de Chas-
UUux wished that poets sliould become muaicians, and
musicians poets. It is not every man of wit and rhyme,
Vbp can write a song fit ibr aay other mnsie than tiiat of a
baliad. Anair,tol>eaimple,charaeleriilic^HidiamiressiTe,
abooM hsra INtds to cxpreai^ that iUaitnte one ringle
Vm, whelhflr loninfful, gay. lolaam or iporUve. The
Terse should not be more regularly measured, or lines
ending with the same rhymes more correspondent, than the
air Ahouki be phrased and s>nunelric, eMC|ltin Tlolent
aicitntioii, or moiueuts of frantic passion.

What Mclitstasiosaysof bravura, or airs of mere execu-
tion, IS most true. These, aud high notes, liave of late,
however, been made RO common, " thai llicy ccu-.c c\en to
mrpruc, all ibey ever could do." Yet, however Met^ista-
sio wished to simplify dramatic music, it was not his inten-
tion, like French reformers, to strip it of all ornament. In-
troductory symphonies, impassioned divisions, and even a
tadmce now and then, by agreat singer, in the style of the
■ong he has been rio^ng* ndaaaapplement to the me-
lodft or rather an anoioi of tha oonposition ooUMtsdiato
> Birroir cmmpii. hr iliil nnl iliianjif «?■
. lal^iJ^MfloiwattpMdeaor Ailiifida, w^^^ it ap.
paara that AM andent oamaa, like UMfni operas, were
entirely mng, he has honoured muMC with a strong and
elei^ant eulogy. " Who can doubt," says he, " of the
pow< r of music over tlie human mind ? Who has not ob-
served Its elfects on himself and others? Who needs Ije
told, that our violent passion for this art has connected it
iwitli all human actions ? In the sacred service ol the tem-
ple, in festivi- ineetuiffH, funeral pomp, and even in military
iuiy, music hait a considerable share. . Its power is felt by
the most rude and savage people ; the most tender and
halpUsa tnftnU attend to it in the .cradle, and cease their
' ' t; the Moo bi ^ 4uti«Mi, and even the sUve

' ibajntag at tta OHV Mdn fiv aolMib and
lithiMiaff.'*

QiwNi shmmI saleaaMMirippuj'.

Tiaoiixs.

Nor Clin compiililvc lahour check hi* tin
Or ibe taanb cattle •( bis gaUiiv cbaan*.

that Ida VwndniMa an wwUiwiiftd in Italy when^H^-
claimed wUkoul music ; but that the raoatexiiuisite music

which has been set to them would not be equally favoured
withfruf the poetry. A kind of music, of which the greatest
])arl is recit.ttive, woldd never have been composed, if words
luid liceu (jul of the ijucslioo ; but a conctrt ot^ mere in*tru- ■
menial titiuir, cousjstinjf of solos, duets, trios, (juartctls,
and full pieces, well couipoi^ed and exijuisitcly pcrlormed,
hav£ oAen afforded great delight to an audience, without,
the assistance of words to explain their meaning. Ilut:
when there u singing in a concert, who attends to theu
poetiy? Or what is there to excite attention, exocpt the
unoonaeeled words of a aingle air. or the fragment «f an
open aeM^ generally bt aa .iinhnuiiu tutgamf V.InhI

aoeehim^imfratt^^aM ^STto^
•pact to tha controversy between the Cbev. de Chastellux
and his antagonist, the author of the Traiti du Mdo-drame,
I will not venture to pronounce llial cither of these dispu-
tants is perfectly right ; or that each may not sometimes
tnily say ; " Urotlier, brtjther, we are both in the wrong."
Hut I will frankly confess, that I have received great plea*
sure, though of different kinds, from the opcms ul" Meta-
stasio, on the nid model, by Jomelli, Piccini, Sacduni,
.Sarti, and Paesiello, and from those of Olock on the nav.
The brilliant and beautifiil parts of the mumc and singing
in the one have rendered me as charitable as inattentive
to the net; while the general and continued intereat of
the otfier laede no Ib^ the hieBBie of intoBd m teiy
symphoniea, the tfaxterity of diflleirit ^vJaiona, mad the go-
nios, art, and otcmpore powsra of kag daeea.

And yet. perhaps an iaiaiesting drama, w«U eethgr
composer, who respects the poetry without saeriAdng hio;
own art and the pertormers, if Singers of the first claaa.*
with whom the French ore but little acquainted, would be.
a more |>erfect exhibition than it is possible ever to render-
an opera, by adhering strictly either to the Picctaists or

SOME ACCOUNT OF PORTUGUESE MUSIC.
(From " iSMtAm »f FortugtitM Life. Uatuxen,

»t9tc" fry ^-

»Tm nuie whWi the Fottagnaae play eo
strung guitars, ooarilH friMjjpailyef imltM

and the accompaniments of ttuir modhtka* *, which are '

really beautiful and national. The waltzes are chiefly of.
their own composition, and are generally very pretty, and
strongly tinged with the national languishing exprchsion.
The laridumt are more particularly Portuguese than any .
other of iheir music. I'licir guitar seems made for this .
sort of music. To be well played, it is necessary tiiat
there should be two instruments, one of which plays mere-
ly the motivo or Ibema, which is a beautifiil and aipplo '
species of arpeggio, while the other improviiaetheMMt
deligfatfd ain npon it la these, full scope is given to
the MM MMieal ead ricbtet hnegination possible, and .
ttf tn. owaJoaelly aeeoaytid to «he troioe » iawhiah
Kb vhbI fer the worde eko to he f

* The termination htAa ii a dioiiaalivv ia lb*
inMpe; hence, from th« L«tiaeif4H%nlm
swHaAa (a Uute hum.)

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fnind in Um iraidB of the
witii their owa •ttualkm.

Itia ciMtonuury that, in u iaifroviMd'
ipi^uiig;^ tl» .w«t|d% ip mil w thn
wittftpottvotofrhkhalllhsiut ibdllimm
To tenUi kba^iteflr awiMWdiff,!
modinha of the fioMnu YetUgif : —

(eXkmiag is tha Air, to which w« hwe adaptad, in the bait

- -aOow.Elvbh word*.]

■ that dmunalaacea mM

■ai lha la • am - Waoaa Of Imf • • • ff Java da •'. part • • adj'

in lha ffmra V--' ^---h^T i flih>i io M «ia M - V

Hmw keen tbc i

Thii liauou ni7 Miul whea —Vtrgj —
Ngt e cii nijr tlunbert

J)i 1*

BaMr h «e gma he Mafc

itoMttbddijrjj^. [ffcjiear.]

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# — Mtia Me fbrtane, so fiWt Wm Ms Ulent, mmi M
■mdi was he aougM iAer by kMt mmpany ; kot
fbrtnBKtely, though s grot natani ((cnias, hia talents

were confined so exdjisirely to music, that, as if to halanre
liis cxtra(.irdiiiarv sliiirc of this jrilt. hi- l.jLiil!;. ilc-t:tiil<-
of lhat most iiecessarj ol all ijvialiUet> — cuuiuioii htiiM.'.
To whatever company lie might be asked, profaasioii.illy,
if the moat profound silence did not prevail in the room,
if aay one breath«il eT«n too loudly, hix harmony would
Bb discord; and riaing in a violent paaaiob, be would
gnlt the cvmpany, calling them aO hnites. Oil (me occa-
tiom, • ladf who waa troubled with a aevcre cough, and
uliO^ •qfly ftM pleasure of Hatcaing to bb improvisoes,
liiJ htm —PiiiwiiiiL' it ercn to pain, litoBgtii wait ftrth;
■Ilia 8^111 Tiiiiiflal, ahhtnigfc lit MllllhMlblM

in a paaiiaa, and baatfqg Ms gatar to
1 ihfe Ittdc Iff a chaii, malnd sot of llw luoii^

uttering MkMieiiuns on her for the intemiptiou. Such
t«inf;ular behaviour nuturally led to his exclusion from
fcoinl company, ftiul he wn^ obli(rpfl to live hy (jeltinjf up
occasional concerts of his own, where he miffht, with im-
fiUdltf, break an many ^litani as he judged proper.

" Tlie PortugvMee piano-mtuic is chiefly tiuil of Bon-
^icoipo, (he Mosart of Portugal. Although different
aipinions prerail as to hi* oooqioaitioiis, hb powen of
ezcciition are indtapMaUy vny gnat. Maraoa Aatonio
iMqgallo ^hai ennpoMd aome fine pieect, anwqgat
> a StTwe, and // Uttttt di tfUtUtiltt

** A cttalom pravaiW liere, wWdi to oonneetcd with nnuic,
and which is very strilcing. lauiiediately aiUr sun-aet,

the evening bell is heard to toil for the Ai r-, \f aria, or
hymn to the Virgin. Groups of people are iiistuiiily seen
to assemble in tWjut of an iiiiuge nichocl in the wnll of
aome house, with a liphted luutcru bclurc ii, of which
there urc innribers in almost every street. In some of
the streets, the sing-ing, which is in parts, is rcuUy very
beautiful ; we instance the Ruu Esperaiifa, where there
is a fountain, which is always g\irrounded by GaiUgo*, or
water-carriers; at this moment all of them quit their
barrela to jotekiUMgcMral dionu* and bua, aa w«U as
, an ftaqmntlj btaid htNi ifMch wovU not

UTTBB OF PADEB MAETOQ TO tflCOLO

^aa Mlowinf tetter recently appeared in an ItaBaa joaraal,
1 fran dM Mfgiml, which it in Ihe poaiaaiioa oTaa aim-
«rflhliarilo^ nil MkUr dpiMtolMh arflftlMn.ed
f aTtta auly Urtorf df aiaric^ aed hmdua all the frank-
•MaadaahattwidchDr. Bunwy in Ui natels describes ■*
idt^iN^ to tta dtavaclar «r fwA MutlBL]

Mt nan JoMaLLi, Bdosjia, March, 1768.

I was a griorl cicul pric\td on reading' the con-
tents of your Icf.LT fruni Naplts. You complain of the

jqiustica that bas been done to yo ur music at the Ttatro S.

• Tadda lisi, the aatboroTrwsMeAff miglii have aSdcd a
Grand Tr Dmm. which coalain numeroui bMDtie* of Uw high er
order. Th« poblic had teleljr an opponuaitj of )H-«ring Uii* cob-

K«il)oii sdmitablf prrTormrd ia Ihe Chapel «f Ui* Pgrtqniaaa fcjn-
—j in London, on occaiioa af liwaalaHatoaCaiMaSliilto the
aath of Um a«« caaaiiittiioB. ■

UHUugiHMs na renarBMMM^g
to any, thai yo« wiang Twunelf tmmmtim

such a complaint. You woofd, periwpa, have done wj
to hear in mind the parting advice I gave yoa, when yoaf

wvrc on Ihp point of spttmc;- nut for Vienna, and asked
nic tor sunic hiiit^i tiiat might prove oseiiil to you in the
musical career you were then on the point of enterinij.
I told you that one of the princl|>al points to which a
composer ought to direct hi« attention, in order to reap
tlM Ml harvest af his lalxmrs, waa to eqgaga the afte»
Ham, nd wfai ttm fedingB of his heama; I told y«B,ttoit
as men vary in ttair < _

tba variety of clhnataa, oHiintti of govammeat, and i
at adncnliaa,yimoM;littoli4gMI]jatoM||^^
«f Aanaiian Ibr wlSdi yon -wdttt ■j^'MiMiailiiit yowr
■■lodies and accoi iipaiumc nto to tlw nalStHal toate of tlw
eaontry ; and, ls<itly, T told yoa that anctCRt rales should
not be allowed lo fetter the native encrpcs of f^nius, and
that nothiun; was more important than occasionally to g'ive
B loose rein to the sallies of an ardent iniHii:ination. I have
read over your muiic ; I have no fault to find with it ;
I'^icpt. pt ihap'-. viiur strong tone of colourinj^, »hiLh, !i3
you do not j^ve authcient attention to the diiaro-Kuro, the
finer i;r:idntioiui of tint necessary lo a finished piece, gave
me. I cannot bat confess tbe honest truth, some nuHnentaoT
annoyance. I am an old man : I observe that tItopMdO
minant charactcriitica. Hit physiognomy, if I nay M
piaaaK, aftba ^gafa dhanged. and thattlMoM a^ wtti
wm l ii ^ Mito any chance of aaaamt : is mwmi, Ikid ka
who poaaaMts the happy art of am>miidMlaihf|i hiUa^to
<ha genius and spirit of the tinea will Ijaar awiy the palm.
Let me request you to bear in mind tba fimous adage ot
St. Paul, that " we arc debtors to the learned and to tha
unlearned," for it were diimerical to hope to live ia a iaadl
of doctor!! ; it should therefore be our aim, so to endeaTOUf
to ploane tlie former us not to disifust the latter.

i.,ast year, some of my pupil? took it into their bends taf"
perform one of my mas.ses in the Chiesa S. Antcmw A
Padua ; I did all is my power to di.s^uade tliem, but all
to no purpose; I was obliged to g^vc way to their weil^
meant aeai. Bat what did I do as a dernier rmmif yftif,
my daar Jomelli, I contrived to leave out a good portion
of the Kjfrie, and two considerable paaaagea of the Gloria,
IB oidv to wva both nptif and othn torn, m m, . 1
i40 Mt aCT o wwd of lha ooBdnMHlni of Ao viAMMii '
wh o at* Of f iipii t to T ogg. aMltoth»Hl»»«haM.«»
honoured renembtaoces of ray youth, ware inattoea to
■Innd ; but it was done pretty much in the style of a dead
body raisioir its hand under u galvanic operation. I had
never pi. tru'-hai- tn ihe tide eitherot :llc<w niv eviimple, and I will un WU foO
it you nil] be satisfied witii tlic result. A niajeitic, grand,
and iiii ii-^-ixe symphony; an introduction tfjim(U>d upon
the stnct rules of countwpoint ; a melody without much
noise of accompaniments: these form the admiration of
the learned, ^ aaoi«a* nalnM. aadOMeoAUtontfi bat
the plain mi Hn

• The particvlars af the oiitinaMtt^aa hiM.allaM to olllbo

foond i» oor " Memoir of Jomelli."— (

T It iicuriout to compare thii opinion of P.Mattiai ralativeto
lb« «ofi« of Jomelli, with the jodgnwot proBouocad br the (raat
Moiart oa Ito laae subject. " This artiat," be ohatives," has c«<aiB
paiau in whkb be shiaca. aad ia abich ha will ever caatisoe to
•h<iM> ; but to^dioaldhavabaaacafslalaaiiadsfatt ftamhts|at>
ticukar path af onsUaaMk Ikv MwihMliQaa to amMsaia lha
«M atjto."

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laalaep; fikakikmi»4o^4imfyfyf. hwrc re-

eourw to the horn, the drutn, titecjAmba), boH tkm troin-
hone; this wiil swakr tbem, this wiH throw them iiilo
rmptur«s ; nolhinp will <1r)T)ut tiial thubtlcrin)^ li;irijK>u\
«illioh aMins to inx-ile to b«alo, ami rouses tlie skifr^i^li
islood tm deeds of deatli. This in ihe pr«s(din|r ^niuH of
4lMr afpe, ud wiil, perh«p«, bccane stili man so ia tfa»t
I to follow'*. Thn Itnimfri mny hUimi Ihg rnmf omr r

_ _ I ki 41mm Mthr

of the many, niunred hr the ce nw i r et of Uw fev. As to
y wMt lt myiHMMl.^lM learmd irii not deny dmt you can

write in the olii ftvle il you ctiootie ; thr hall-lcnrriMl will,
if you humour tln-m, ^fwet you wilti tlie tiUc ot their
Masnt.'s .4p.,Uo. but what i/i uf inori' solid iriipnrlaiicc, \qii
will not oulv be vvpll received liiit wvl; pjiid. Dear Joniell),
iie adviacd by your uUI master; inllow thr pfith whirh he

yaiala OKt you, mA let the ADatirchuies talit on aa tbej
■mm vaHnroon, oad forewcll.

rjroa.
Your aflef tionatf

tWw a Carw f oaii M t^

Jo (Ac £(titor 0^ ^ UAKMoincoir.

Pmk,VmOeL,VIM.

I MARTEN to cive y<iu «ouie particulars of the first re-
yrea an tatioii ot Rosniiil's, new opira, L': srre<- dr ( '■irinthr,
■which, as turns I inuy be allowed lo judfjo from « single
tepresentatioii, was crowiiLil wilJi complete success. It is
'feunded on the Maonuiio, which waa produced for the
time at Veniae, in bat Hitlad. 11m oompe-

«r iha m mf wm «r Hn jHMMt k «.
to ftr«MM ftw wrtU porfbffMr, and
iha tat alfanlage.'Aaa to paint
I oOknm the flHactionsaf liie jiteoe.
I eoi Bpoeeia act in Axmti. oppoAition lo
►aWha Manch aebooi. The letter are alwavs oitnint;

while those of the Italian school wek to
•charm the ear by «a^y and flowing melodies, and by u
■neoFssioti of haniioiiious diords, in the oombliiation of
■^whic'h, neither the chamctcrK nor passions of the perHon-
agres are consuUid. The Ilalions lose «i^t of dramatic
«liaet too much ; the French loo little. It i« to a hoppy
•mixttHW of (be two, that the ptiblic ia indebtMl for the
•ahatminf aoaraa of Meawa. 'BoWdieu. Aober. he. It la
i-afiiWiiiiMliiiwi

>•>!■

* WmU Dot one be lad to inagine ttwt the rood
. jaailM with (be apirit of praphacy, awl, lookiiK i
M M»«w aaavoaMs aad die oiefaeatiaa of the

rood Padie Martini
\\a% iDto tlie fa ton,
Wlh cenlur; \
MiaM^

liie oMbaitn, tnniportioc Oaca as oCu-n «• aa ojipaHmitf will

ello» o,xiM iho iiM-if^ |„r»<;i»d( <i, u» it would teem, that boim
i« effKUand Iliai lo enrapimv ai:il : > tiun arc naoaratoaa tena* .'

aliaae,«aUMitlm*lew jMr I V rn.,ny ■

iJanaaaailanMiMI

mspOdt 'to the aalijeet of the piece, the«e n seme-
thintc strangely inconsistent in brin^op Midionict ibi^
Hecond upon the scene, uud inakttif; incn siffb forth his »out
iti nri^ic; b<-. who, bavin';' .satisfiud his brului passion foc
liif virtauus Irene, cut olf the he«il ofMxa uufurtuoaUi vtctiat
with his own baud, cooilv ol>serv iii^ to the oQioera of ttis
l^rd, " It is tfaua tiwt Mahomet dealt, with love." And
yet tile aatlior af Mm m uth , II. le doc de Viga^no, passca
atNaplwforaaNnrfaadiiagie poet. We ahi^ uka <ha
af mak ihartnglha admtratioa of tha NpydBtaia
for-tlia iwMM af thagaad-dirito. It ia Iraa. that ia il»
jdlga «r Ilia Mian, but vai«n
idM«rUaflHbi*ieli ymmilm-
MUMf fitUami Sr^t wrthM «r
All they have ifaiie ia to «haa«a «!»
aT aaMB of the personages, and the scene of tlto
artion. In the Italian libretto, .Mulu)mi?t bcsic'<:;es XegTO-
pont ; in the Frendi he is made to bi-Bietre Corinth. The
Inilb is, this Maliometuu .\lctaii<ier Uiid sie^ to botl»
places ; tbe aiuhor», tJierefore, have not contradicted tba
truth of historv ; hut why imve tiity not siiown the saflM
respect for f|;;oa<d nenae, and the lintt rules of poetry ?

The admirara of SigiMir Roaaiai'atolaotaaHuted, with «n
kafiotMsioeproparUaaadto.tlMplaaauceaatkipatod^t^
■aaaeafamaater.aitaanriodiaBarenoariofiimiUar. MSgmg
BoaBBi. who has for sama tiaM la^4u»der tbe ioifmtatian
4^ iadoleoae. aad arbaii aw b s li a nw » not i na e ni ii bie .to i3t»
•flka «M»/ri
fiirbia loagdaMi
lyre, he always riMltered biaudT Mdad tbe eiewe of the
difficultiet of the fVcMh psoso^f. aal yat, in this respect,
we feel confident he might give laiaon^ very profitably to
a certain author, whose name fij^res seven times u week
upon Uie bills of tbe VaudevUU and Let Varidle*. But
this modest excuse will no longer be admitted, Air the
manner in which the rccitati%c of the Siege de CoriiiUu: is
munagicd, with respect to oorrectMSS of prosody, provs^
inooutesubly. that ihaflMlba ia aoMllr'Milliil MJ
and Italian rhythm.

We mSOi try to give some idea of the lihnUa^ i
dscocated with tht title of UiigeiUc lyrupte. Makomjl
has taken ap his position before Corinth. Tbe besieged
•QtaahaMa^ thansslvas anlh apwit. .Aaimtoi hf lt»
4raioa ar Cfiaa iw w jthak 4deC aa« HmU^mm
Mivm -UMir take a soteaw oath in jmnpm ft -41^
MaanwMIa everything is arranged to oriirimta tltoW^
tiais of Ketdm and PaMyw, Iha daagblar of Xaeqtoanea.
Neodsm one of the bravest of the defenders of Corinth*
adores Piunyra, but does not rm-pt widi a return of love.
Pamyra cherishes a secret aiUiclnueut lo Almaiitor, whoso
vuwN she has reoaiyed at Ath«ii.s, and this Almansor is uo
utlicr than Mahomet. The dauglUer of the chief of \ho
besiei^d is in love with the cbi«f of the besiegers; here ia
a dramatic combination, strong' eooug'h at ull eyeutA, if
not equally Mw. The innocent Pauiy ra, who knows not
liUitilMfiiJknttWairior, tbe object of her aiiMiliona, i« Uw

mmmf iStim aotiiiti^ remivaa from the hands of h«r
fotbar a palgaard, whtch she pransiaes i« iplwBa i
bosom if the enemy should pievail, rather tlwt

Into Coda th,^dtadal qr irbMtakmaboMs oaL
meaes anawart widi dignMad eompoaeie to tba f
threats af the eonqueror, who oidae* his g wa aia to i
him into a dungeon, when Pamyraappcara. "Ab, *lia laj
fbther !" '"Tin Pamyra !" AlmaiuEOr !" and thua

finishes act the first.

The second aa Uansiioita us to the ieiU of Mahomet.

pigitized by Google

i»16

iMr fiwcrf SMI the Ippw 11m cvn of Imt wihappy
'coiuitrynien, aa well aa tha* oF har inoanied frthar? Tkt
: Mllant Mahomet endeavoars to console her ; he order* a

nte to be prepared lo divprt her attention by dpirrees, but
which, by the by, is anything bul divurtinp. Atlpr a loni;^
• aeries of dances, which, though fxectiti.(l l>y the litrhlest
nymphs of the court of Terpsichore, appeured very heavy,
aoldien brintr in Ncocles prisoiitr ; it is natural enou)?h
that be ahould be a prisoner, but the reason amigned by
Ihc autiiora of the piece for his being there, is rather
■ Curiona ; it is because Dan» m affrruj tramportt U pro-
nenfoU lenam dtPamyra. ludignaut at beholding her
Im «dona ia liw cawp of a barimiaivNeacUa nfiUiBa to

• dUmnrf fioBlfalMiBel, w to what Mof Mm IImm->

''Mowrtr.MitfiMiMlar. ■
▼alia ea qaa 4a* Gnaa BO Ifiaa Ml ■Mandia,

Et U paix qo'en Uof aoM Ja dvvaii t'appMllt."

To die, or iatmolale fhaa ttmjtmn.
Tkia ftaaa iha GMskaalynit ahaoM aspMi,
' thn, this the' peace which ia their name 1 briaf .

Death would of cour'^e have lifcn the price of this noble
answer, had not Paniyra, by addressing him by the nainv
*4lf hroOter, saved him from Mahomet's fury. The latter

• then lavinhcTi his professions of love on the daiiRhter of
Cleonu-iK -^ , and presses her to accept Ma iMnd. But she
declares -he will never abandon the cause of tht? Creeks, and

" Qa'elle aiptie coauue cux aux buriera du nuiitjre," . .

• Th« curiam in the back-ground rises, and dlaoorer*

the citadel crowded with women and armed warriors; un-
fortunately the illusion of this scene was lost by ita (oo
great proximity to the spectator. Had tlic eitadel, in-
stead of lit-infT pliiced nearly in the centre of the theatre,
been seen, or supposed to be seen, in one of the winffs, and
had a gatizc been drawn between the l>esie(:^rs and the
faeaiej^, the wags would not have hud it to say, that the
tall Derivis, who personated Mahomet, mi|cht have dis-
'pcnsed with the scaBngiJiddv^ and taken a leap into the
cUadd without further ceremony. But if optical delusion
«B8 waatniK not ao powerful and appropriate music. The
fliclMatnd ^cta in tUaaituotioa an beaatUUl and ciictiTe.
'Boiaini appcaia qdl* to kcvo aanMHcd UniMlf in tfala
tho wiMie moTCBMiit b nMogadMr origianl nnd

tUrd act opens with a strildnf view of the tombs
of Corinth. Ncocles, who has brolcen from his dungeon,

•comes with bii brrtlireii, determined to die tOg;ether in tliis
' q>ot. In this place comes tine of the most tender and
•axpressivp airs of tlic whole opera ; (Irand Dirit, faut il
Mi'un jinipk qui i'adorr. it wo.s executed by Nourrit,
le Jeunc, with u In^te. n cliastencss, and feeling, wfaidi
calle<l down long and rapturous approbation.

Paniyra, in whose heart the love of country has tri-
umphetl over the weakncsa of passion, at leng;th obtains
the pardon of Cleomeaea, and is united to Neocles before
tin tmnb nf her mother. Ilia Oreeka arrira from all
•poiata. HieroH reminda Um of the gtoitooa ead of the
lof Leonldnai . '
« Aa a«n da IKm oat vnoa laspif*,
it Mela vat fraaiB gWrim {
Haclielivasdiaipaunifespalmesdu mart; re,
Lercs-voo* poar iDOurin je vona ouvre lascical."

In hit name wlio inipiret^oa now.
Thin do I bl<'»j each glortODi brow :
Aroi'nO vour brows die martyr'* ttown I weave,
■6tc heaven aoJoM*, iu voianrt lo ic««i*«.

tor

r«Mtt Mtope'tr

; Aunjrra has no odiar mf of <
Ml her dagger ; and the
tenninatea tha piece.
It requires more than one hearing lo be able to ap-
preciate the merits of a piece of surh len^h as the
present. Suffice it to say, that ilie beauiiri of Ro8«ini'«
peculiar st^le prevail; and t}iat the third act, which is
almost entirely new, is that in which the composer ha*
risen to the highest eknatiun. Tlie second act is abso-
lutely too long ; some sacrifices will be made with advan-
tage ; the anppreaaion of a man out, and by no naeana
e^ctive, duct betweoi Deiifii aad Martiniielli CM,
appear* iodtnennblak It nwU alio he writ to obildn
the baUat.

Um eneolioB ef the piaee wia fai the hi^ieat dwne
aetiafnetBiy; the eedieatra, under the aUe flOMieet «f M.
Habeneek, dieaiiua every praiae. Adolph Nomlt HB^
admirably the part of Neocles. Nouiritiha aldar ikHm-

guished himself particularly in the recitative, wMcli lie
gave with qreat trutli of expression. Derivis, who sus-
tained the character of Maometto, sang willi more than his
usual vigour. Provost distinguished himself in all the
music that fell to his share, but particularly in the grand
scene in the third act. Mademoiselle Cinti did her Itest ;
but in spite of the freshness of her walk, and the punty of
her taste, alia wanted power to give full effect to the part
of Pamyra ; it is a character which demands the cueigr of
action and compass of voice of a Pasta, but unfattoni^
Iteftn lone we aiiaU Imve to nsiet her ahaenea even at
the nMlraJMbii.

Nothing' cotdd be mof* faiteraatipf Ihaii the conp-d'anl
presented by the faitcrio^ of the opan. Than waa not s
verse which contained *«n aDlMloo (O (he p ia aM i hiioh
struggle of the Greeks that wnanotappkadediathe nail
enthusiastic manner. It seems written in tha daatiniw ef
the unliappy Hellenists, that they should for ever be be»
trayed by those who ought to slmre their daMf,'ers aud
their glory. Christians, imwortli) of the )iaiiie, lent their
aid to Mnlioniet ihr set ond in the siefje ot Hht>de5. The
grand vizier himself, who commantied the army, was a
renegado. The race of the Selv«* is veijr tmAttt ead
doea not ac«m likely to be soon extinct.

For a long time after the fall of tha curtain the pit waa
damoima in ita denwii^ far the appaewiiea of Signer
Roarfiii. bnt tha eoeqioetr had the good eenaa not to
submit to ao aanaalcaa a ctxtUMa. A mam of letter*,
and a compoaer, abould appaar hcHm the poblie only in
bis works. The cxhibitioa of hie paeon ia not laohidad
in the list of amusementa promiaed to ^hoee.whopaf a
certain sum at tliC doors for the privflCjfe.oMMf Of ap-
plaudint: or lli^sillg his production.^. ' :

Alter the rlose of the opera, a nunilM-r of theMMMlM
of the theatre repaired to the residence ut .S i gnor R oaaini ,
where they executed different pieces trom the new score of
the maestro. MM. Nourrit sang some couplets com-
posed extempore in honour of the Orjiheus of Pesaro.
Tliis little f&tc, aW improwuo, wa.s terminated by a supper
party, which was attended by some of the most distio-
guisbcd cooipoaeia of the day. The second representv
tion of the 8di$ 4e Corinihe is put off in conaequeoce of
aa aaeMwt which happened toPeiiaia. Atthetnomant
of the c onB e g ia th wi of (he city, and In t he Midit of the
bustle necesrarily attendant on afirat l a piewH tfoni he
fell into a trap which was left open, and wOundHl MeMCtf
with the sabre which he held in his hand. Birt It bheptd
that the wound is not of such a nature aa to i

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THB habmonicon:

217

lonf tfana, a pwftnw w* M> aidHdj daatrtd by aU th«

fncndj of marie.

I have just heard that his MiyMljr, to express hw sen»e
of Sipnor Rosksini's merits as a composer generally, anfl
of hii> success in hi>i fir^t altcinpt oa a sut^ect in the
French lanj^uaf^, ha.s been pleased te tatV
iarignia of the \tg»oa of hoooor*.

IwBi javn^ &C. Ac.

lb. Editor,

Haviw frcqnently obacrvcd that the tqwrU of Muric
HMtiqgi wnidi appear b the newspapers aad oiher poUi-
caliiiiM^ are loo conmonly either partial, cxagtantad. or
ftbe. I have eooinitted to paper, aud bei; leave to tend

you, the following account of the recent Festival at Bir-
jningham, topefher willi some remarks on the several per-
formances, which, if tliey liave nothing else to rucominend
thi-m to the notico of your iiumcrous readers, will prove, I
Irunt, on examination, tn he founded in tnil!i. I (l<j not
say that I shall " nothing extenuate," but I will vouch
not to " set down aupht in nmiice "'

It must not l>e forgotten that these performances take
place every third year for the benefit of The GRMsaAL
HoittTAi. ; and a strong address was this year circulated
wStk tiw pvoepectus of the several peribnnances, which
mouglit a powerful effect on the Icelinga of the whole
Strict, if we mi^ judg« from the final result.

The Ntdar wffl not M to obacrvc. Qiat thi* Festival
liad tha Ug^aad dMngnlibed bononr to iMpatraniaed by
fha Kmo'i Man Excxllbnt MAnm.

The Rifht HoDounble Eatl tlmira.

. Haiqiitet aialigr4»K.a« M Mn ab af ^i^mirK. G., Earl of
DnMBh. Bnl «f Plymalh. bri of ItolMaA, CM of AjrMord,
Earl of Warwick, Bar) gp a i ea r, Eeil Talbot. EariOigby. SwI ef
Harrow bj. Ear) oT Bradfoni, Earl B e— cb a w p, Ear) of CloBmcIt,

Eatl Guwer, Viicount Dudley and Ward, Viscount Anson, Ix>ril
Bitlinp r.f I,irlinr-M aTi(l Covrntry. I ntrl lii<hii|j nf Oifnrrl, Lord
WiUooghhjr d« Broke, Middlelon, Lord Baj^t, Lord C'al-

Ifceiiiiit tta Orn Skipwitb. Bait., tit Behv* Lawler, Bart., S^r
Ma Wntlcalej, Bart^ M. P., 8irT. B. Wiaah«taii. Bart., M. P.,
Sir Geoigr Piroii, Dart., Sic Robert Peel, Bart.. D. S. Uuirdalc,
Esq., M. P., Francis [-i«lrv, E«ii., M. P., H. J. Lidk ton, f:s4.,
M. P.. W. P. lace. En., Ue'aean Lena, BiR|., and Rer. L, Gaidi-
Mi^ a BeelM af Wat rMTip^

And by the following list of eminent and celebrated per-
' , botli Tocal and inatnuMntal, nalives and fareigB*

• \^ f> i l [iiiracWc* called upoti to qualif; the above bj obsrrv-
iogithat the aulbetof Ibii critique iia noat entbuMaitic UoMininn,
aBA«hatbb«piBinMMMtaolbeadapM4io»liaiai!r> l» Sihff df
•CKtKtktUnMm man not Iwa aaa M otrntHt *wa J i > , an oprra
wlneli biled aatinly, both at Vaaiee, whei* it waa flrst biouf^ht
(wt, aad nfaaNHcntlj at Naples. This the conpoaer has sligMly
altered, otnitted about three pieces, introiliicod rnther more, and
divi'tcH it into three act*. We ran wit Tiii'.K;rj <.f nrw n.i;»ir,
but of the rr»t we fe«flc»iW ajsert.thst it ii one of ihc least orijinal,
daUest operas of Houini; and ruch is thv character i;iven of it hj
all^Bdtes^yofeasioBa) m aet, who bare lieani it.—{tUklor.)

era, aa well aa by the aiodlcaM and Mrrelty contained In
the various selections, it wilt lie aaea that the committee
employed erery means, and made erery eitcrtion, in their
power, to please the lovers and ;i1".fv the patrons of the
art, and thus to uttrucl a f^eiieral luimerous attendance
in iiid of the ;niii<ist exhausted htnds of the Hospital. I
rejoice to state that their etft)rtN were eminently successful.

Principal F ocal Prrformtri. •

Madame Caraderi,.Miss Stephens and Miss Palon, Min D. Tra*is
and Misa Bacon, Mtttrs Ueaton, S. Travis. ('Iciiigh. Ac., Ac. *

Mr. Hralutm, .Mr. Vau|;han and Mr. Krllnmv. Mr. Knyvett aad
Mr. Philli|w, Messrs. J. Elliou, tiouldeo, lira as, W ball, &c. 8ir>
aorCarieai and Sigaorda Bapia.

Ifutrxtmmtai Barul.

Tht Violin nnri t'inla Performm were, Mesnn. Ctanter, Kiese-
wetter, aad De Bertot, Leafers 3— Mr. Moral!, Principal Sacaad^
Mr. R. AshWy, Principal Viohi;-.Mr. Uadley, Prioeipal Viak^
cello; — Mr. Dr.i^onctti, Principal IXsabte Bbss»— Messrs. OniT,

\V.iKM.-.ff, Ciinn.l.r. IJa n ,-. Rawlings, Ella, Watkisa, Tbornas,
Marshall, Shrr.-Hi -ir>n, ( il^' lliill, T.ivlor. .Anderson, I.itollf, A. Grirs-
hach, Glanville. M nkinn.h. Shar.'oi 1. Cuy, H. Sharsool, Tomlin,
Frilch, Ward, andGreaves. — Daniel', l.von,' Ahbot, Kleisher, Nick^
Davit, VilaeibClMbbsRmlp. W. Fletcher, Bco«D, &c.

finbme^laij—yivnn. It. Lindle;, Eley, W. Ljodlcy, Crouch, C.
Lindlejr, f.ucai. Brookes.

Hmtaotu. — Mvs»r«, Mackintosh, Tullr, Phillipt, Twire.

IhmbU fidswt.— Messrs. Otagonetti, Aareesi, Taylor, T.Pktehse.

Seipenu. Mwm iladn Omn the Siqral Hoaadold Baad)« and
Thurttan.

(J»lsa«li,e«>lleisn. VUlana^ Fowcll, Brindfey, liBiln4|a.
atow,f->Mc«srs. W. Uag, Witton, T. Line, Knowles.
ffufes.— Mrsais. Nicholson, Price, Stannier, Slanabwy.
FlageoUl. — Mr. Adama.

ff irnf. — Messrs. Piirri. Shnnrk' , Kae. Probin. Ilorton.
'7>i;'ji,.. / - M,A.ir«. Il.irj.i r. Nciilnn, Irriiig, Titumina.
TVoasiont.— First Choir. — Meaara. Turaer, Uiatin, BechieBS, and

AUMaeh^ fiBK the Bofal llsewliiM Bnd.

Hcana. nilUps,Cnckaa)|, Uantaa, tt^UUm,

Mr. J. B. Cramer
Mons. Hl> IJcriot
Mr. KirsfwiHier
Mr. LiDdley

Mr. Nkbol'toa

Plnno-Porte.

Violia.
Ditto.

VioloocaUoi.
Plate.

0» TVEtDAY MOkXma, OMir VMM. PMIUF*a

cavMca.

n^r.L TATIIEDRAL SERVICE,

CIuwImI 1>7 the R«. H. Cii/ua, M. A., RmIot of Si. Kirholu, Wgrcaatw. '

To open theScrsice — Antbeoi, " ilotannah to the

Son of David" . . ,

Te Dean ....
Jabilai«,(OreA»)Bnd Aawa
ArnbeiB. "WfeMtheaaaafaMdsiall eMaahii

Bl"nr" ....
Psalm XLI. (St. G<-ar;fr'» Tune.)

JDr. Csole.
JTffM.

.Anthem — Duet, Messrs. Kayvett and Vaa£haa«

'•Thoo,OOed,an>ial e sd wtiear .0r.i

Air, Miss Ttavis.^'OaHnlArlhaLoid* . . HtmM.

Choius," Offer the aacriSee*' Dr.Grmtt,

Aathii day'awrfieaeuhai^lj be considered aa

under the deaeripdon of a omieal peribnaaMi^ (tha
organ being the only imtmiMiit oaadaj. I ahatt aihr no
remadtonn, butpcoeeadtothalnteaBMrt.

Digitized by Gopgle

Wtm mJ'S^^m, - Cod Mvr Ihe Kmg"

BilW,Mr. nillip«,"lli-hc - . Or.

Thiei, MiM BacoD and \U. Dralium, " M'ab*

brace ib" ....
Song, Mm Stephr-nj, " R»ti(, TravHIfr"
CooertU), Piuo-Forw, Mr. J. B. Caaier
BecM, Sicnof Cnnoai, " Va lamiina4o," (CIb-

lioMt UbbligMO. Mf. W^IImm) .
Qhp, " Sw|ael to O iUj fcir." (wilk

paniments for ■ fiill Orclwslra, aad Choini,

by Mr. Grc-»torp») . . Sir J. Steremon.

Sonic, Matlamr CaraHori, " Ah ! eh« forw" . Bo^Jkhi.
Crnr.il Srrr.ti, Signor l>c Bcfrnif'," I a tua lorcik"

•Dd KuMle, bjall the prittci|>al Stngeai . tftigt.

AevIL

ftnnm.ntrFrtbtMUm • . IMhv

Irish Air.Min Tiavif, "The hup tfwl met

throufrli Tnrii'i ti»ll«" with Piano-Port* Ac-
ronii I ,, m-wly nrrancrrd by Mr. W. KovTstt
Clcc,(Ki»e voices, wUh Double Choir), " Bleit

pair or^rreni" . J. S. Smith.

teaa, MiM Beeon, Bel taig^io luMnsbicT" . X—iml, (ZMmtrmJ
SimerdeBtnia, "A qoeleuM* . JImM.

Simer de Btnia, « A quel enM*
3t<^clt.. Mr. BraTtttn, " Yr*, «Tea Wra to luae*l
Air, Ditto. " O -li. a florimM right"!

Concrrto, Violin. M (Ic Hiriot . .
f> .ri!-. Si -n ' Ike I!rjTi ;«, " Amof mi pizztchi"

Canznncita Kraaccic, ftladaflie C«mdari, " Ca
• aWlnr' . . .

ViMltia JatAotor Jtitm

Muumt .

i!d symphony wu perfenned in a most
4BMieriy manner, by a powrHliI and wcll-wlected band,
irbich wan. In all its various dppnrtments, cvcrj- way capable
of doitiK ani])lc justice tn tlir immortal author. This will
not Kurpri'ip tlip render, for the performers ulmoi^t entirely
consisted of tlie jjrincijir.K trom the Oper* IIousc and
the Philliurmonic Conrert. To ihu provincial lovers of
iitstniineiitnl nuisic, tliis must have been a Ifrest treat.
Phillips's ballad " Hebe," was encored; it is prclty. and
he singa it well: birt has he no other song:? 1 hear
Ub nothinir elae : tk » H^" here. oUebe" there.
** Heb«" everywhere. For the aake «f tvidy only, do l«t
Um oecaiiionalljr indulge as wilh «mm dmiiRt
The duet " M'abbracda.''tyM{nBa«mnMlMr.Bnhui.
i hniwhl y waag. Thia young lady, who is almost new
t» <h« ■■■■■ual p«He, pe ti w M B eg great enpability, with a
•Tolce of vaat compass, ukI in its voliune or quaniitv, tnf)rc
tesemhling Catalan! than any I have lieanl. Would it
were as sweet as it is powerfiil, she would then he irre-
sistible. IWt style is, I tJilnk, decidedly Italian ; am!,
although she has copied sonic of the defects of her iii-
stnictor, Sig-nor Vclliiti, — (who never sung two successive
lior- ehlier in tune or in time, as every one of the Opera
band can attest,)— yet I have DO do«fat ih* vlU— iwl that
too at no very distant pvUk-feMMW ilfWffTtidll •
vourile witb the public.

The song of Re^t TnTeBo;*' b dM cTf^ trifl« fa
which Miss Stepbew MHMtiaHt MMk» TV * ^* f * fl t-f rr"-
tl''^ i"2^*"^ *h»««ert» «■ Ae plBio*rt« by

~^T*_T'_^ "''?£.T" ?*-y* ''!^y* ■ highly-ftnished
piroriBmee. TlM Mnr his first appearance in public at
•ay provincial meedn|^, ae was m his entrance warmly
greeted ; and the jnsdy merited ajiplause with which his
Wnstcriy performance was received must have beeu most
Aeering to Un. Signor Otriom't Italian soena was song

fa lib MMit

ptesant taile of a Wmfagfaai a a iMu i ot . The same
obeervation will apply to Mateae CaradofTs air, ~ Ah ! eke

fori^e," thodgh I miiRt not n-ithhnid frma Hie ftk sanKStnesa
wtiat is justly her due, «hp sung it admirably. The first
act finished with a " Orand Seenn," descriptive of a com-
poser's rehearsing a piece of muhic, (written on the occa-
sion of his palroti's marriage,) unJ his directions to each
vocal performer how it should be performed, in wbida
Signor De Begnis set tlie audience " in a roar ;" it
loudly encoml, aad if to laiifh oe any ]
of life, it mightfaiiw pmcul faitanoe
eiHoyad.

Ifca aaeoBd uA iiiiiiiwmi! tiMh flia biawfad Wetart
owfawtotifafWwhifa. '!llimia Muaf our IhealiU
calow h e att a e that fawaaiwr enough to do it jiMtice; anA
I am inclined to think tnaton no previous occasion — with-
out excepting even the Pliitharmonic Concert — w.ta it
ever better perfonncd tluin in the pre-ent lnst:iricc. Miss
Travis's Irish air, " TTie Harp that once throug-h Tora'a
halls" was not very etTective, from what cause I will not
pretend to say. Staflbrd Smith's " Bles-t pair of SjTens,"
Ls a fine .specimen of this style of compositiou. But I
regret to say, that the day fur admiring glees, if not
already gone, is fiist departing. The tdo ** Ah ! qual
colpo," was not performed. An apolon was made by
Mr. Bdlaoiy, requesting the indu%«Me of (he anAcaoe for
ftsomiMtoa, aa orchealial aecompaBhieala wen left
in LbbJdb. It b a lltde anions to obsem, fanme^
that tiM JMiR^viom JourmO^ fa tho aeconnt of IUb
evening's periorauHKe says, " Ifadsmr Chndori. Sigwir
Curioni, and Signor l>e Bqpii^ bifbsed great spirit ml*
Rossini's ' A qual colpo.* " So miieh lor Birmfnglunn
accuracy ; 1:iit llieHr lhi:i rs happen in London sometimes.
Mr. Braliani's rccit;iti\L: uuil air, from Wclicr's OAcroM, v»us
a masterly perfonnance ; hut the |H rii>i! is not ytt arrived,
when the public in creiierul will ajvpreciate Uii.< ffreat com-
poser's talent as they oiifrht. Now came the great feature
of the evening — a concerto on the violin by M. de Bcriot.
At a time like tlic present, when there are so mauy emi-
nent performers on the violin, it would be an invidious
task to campare this yo<mg fonigasr'a talent with that of
■mpotlicr iadi wfasi. His n anw a nd Wfutatiu a faid

oeedeS Um mast saaguine ai pefitatl oB ^wT tsM «f a
gentleman wIm oaase all the way fiosB Glasgow to hear

him. and li* himself amply repaid for all A« troable,

experi'^e, nnd fatipiie, it co=t him. In mv own (I'liniini,
his p<"rf<irniance upproadies uearcr to pertecUuu ihuu ajiy
1 ever heard.

Madame Cnrodori's French romniice went olf with it^
usual tclat. The finale to Don (tiorninn timshed the
concert. The merits of this composition are too well
known to require any comment : suffice it to say, it was
very well peiimned. The band was most aUy led by oiir
old fifaid and Ikvomfta, IP,

OnWBDSSSDAY MORS INC, October i, at St. rBtUP'8
CMVRCH.

Past I.

0«wrlansCsliiar(wSili aUiiiaasI AccMa|iuO BmtA

Seuvi, M va Travis, Mfiaia.TaadM%KarTClL

Dd BeOaiv, ^T&s U

(ionlucn, l'll-Ih|is,

the 4*7," aad Chorui •

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THE HAEMONICON.

}

urn

J., Mr. Bnham, " O iom o( si^-hi"

Air, diUo, " ToUl cclipw, mo inn, do moon"
Choral, " O fint^reated beam"
Air, Mr. Bellun;, " Bmve Joaatbsn"
ChofM, " Eagin wtraaMMMiftaatk^r"
Air, Min SlepbeM, " Ib tWMlctt IniHOOj"

ChoCIM, " O bUl dllT
CIWC«»,"Th«Lor<l |.:.-purrd"

Bceit.,accompaDieJ,Mr. I'liillips, " Beliokl the

Seraphim" ....
Trio, MiaTiBvU, Meairi. KnjrtU and Vaiig>

ban, " Po«r Ibrtb your icw^
Soto. Mr. Phillip*, We«p m
Choral, " Yei werp, O weepP*
Solo, Mr I'hillip^ * Weep DO nwre"
8iPini-( linrvi;, Babold M hCKMilllHU;'*
<:i,.,[,,l, ■■ Th... l.our of ir«rf» ,
Ciiorus, " lUUeltijuli"

Part IT.

JOSJSPH^—A Stwnd Dramm (Ikt Jfaife ty MMJ

Orcrlorc.

Secit. Accomp., Mr. BrBham,*'Thm|gll Ibr ft vbillk'*

Air, diUo, " Hebron, tvcei vale."
8n*et,' Meun. Bmlwin. i:iliMit, r: -.1,1, Irr. E

lamV. and Cliciru% " Ah : how hit iouks.
ftrnpboar.(MiclM.>
«;nnii. "LoolMflriMd.*
Air, MwianwCaiBdark «H»« iMigMi Ike dan."
Trio, MadaiwOmdori,li«MB.BmlMM aad ran

of jo y ."

Socii., Mr. Bellamy, "The pcopir rlirnir nroond.*
Air, Mr. BralMai,"TlMa haMaaod foiluw me."
Chorua, " Y« wnion.**

DiMt, Madaiw OmM ad Mr. PkilUpa, " Soto ilay."
Becil., MeMM. BibIwm Bad Phillipa, •■ I can refrain im> aoi*.**
Beplei, Madaae Caadori, Mnar*. Brabant, Phillip*. EllioK, GovU
dm, Kvana and llrllflmv, " fieajaoaia, for aver «huD," and Cbaiiua.
Sonif. Miu Travi.. W I, ,t tho' I Uaca" , Handtt.
Gtand Cboruiw" Ulor> lu Cod" .

Pabt OL

QhiM, Via Du IVarit, Mnm. Kajrati,
VaoKlwn, and Beltomr, " How loax,0 LMd"

Chorus. liaiv'on i' fullrn"
Air, M l. pii ! 1^1 iIm- bright Serapbim'

(Trui.nK'i Ulil.liL-am, Mr. HHrjKT) . Handel.

Brcit , Mr, I'liilliiai, " ('"or a (liouMiod Taari" . T ._, . . , ,
Air, U.«lo. " The Miarc. of Deaih" . . UTIujnktgtt mn ,)

ClMna.«TlMriM(iolao<God" . J S<r 7. i/,r r,„ „.

Xceit, Mr. Biahaia, * Deepn, aad dcrpac aiiir ' J yj^^ . „.,^
Air, Ditto, « Waft hft aBceb" . J f"'V*«*V UmtM.

Chotas, " llr« trcmendio Mairatalia"
<i,«iirtel with DouMc Choir, Madame f'amdryri,

M.M ^ifjji rnj, M:i> I raviH, Messrs. Kn\ »cu,

iiraliam, Vaiigltan^ i;*luUi|«, and B«Uamj°,

Bin*

( RfT^l/jtion)
Smtlfi.

(RequinnJMottut

Bonv. Mailame Caradori, " Ah ! pMtt(cVAier4(*

£itt .r Atrrxamo.) . . ,

Doiible Chorui, " Gloria P.itri,'' (llroaa Dixit

Dominii*) ...
Xeeit., Mr. Vant^bao, " And God created ailUl'"')
Air, DHM, " la oMivt- ^rac**' . . /

BMik,MfcVaaghaB,''AadGodMM* .} (CrtaOiiO
Beck. Antump^ Oiiuu « to tpliDdoac bii^- 1
Ciaad Cborat. " The Mmmi are teUhi^* . J

I ffur thf limits nf tho H.^rmovicoji will not further
allow of so many remariis a.s I have hitlicrto indiilpcd iti.
. Of Ulia KMiminf^'s perfbrmance, however, I cannot pass
anr in ritooce Mr. Brafaua'a •* Total ceUpae;" I nntr be-
iwelMarditw wail — gwenby hlMnK H Mtmhet km
ftoB tha Tod Jam (iMh cT J«w). coraposed by Gniun.
— J ftoMiyot ^ « Hind Dmbm, eomposed by Mehul,
mm MUtMw to KiglMi andicnce, and for which we
■H Mtgai to lb* Btmlnghain Committee of Management,
fonner i», I Ibink, cvet^ way worthy nf Ihi- uuUior
toauM U bears. JompA is an uiterestisg drama, and i

th« tnuaic ia pif iri^gi Wtl d» aot eoMidar it ta ;
much of tbatcbaraeteewnUiai^, wliiefa, horn
tiflM. we geamUy atiMh to Ui» OntoiiiH or I
MaiiiM Cudotj in tbe cbaractcr of Bovamin, had
aBoMcd to her a viry pretty song, which iihe aung
prettily •. The duet between Jocod and Benjamin (Mr.
Phillipii and Madame Caradrtri), Ln aUo very iiiti.re.stiug.
In the SiUctuiii whuh lorined thi' tliird paiL (if tiiis liioru-
flip's pcrluruiuivti'S, the chusle and uiiallccted maiuier ia
wliich Mr. Viiughun sung the air In luitive grace and
honour clad," wa-s particularly gratifjing; and tlie native
and well.diMnplined chorL»tcrs uf BinniAgfaam, aided hj
their brethren Iroin HL-\cral of the nci^hbourin^^ calhedrala*
as well OS those front the Concert of Aiicieal Music, wars
never beard to grtater adTaotage, Unnin thearand dioiui
" The Uewnmi tn tallii^" Whidi jriinatM tt» mb-

0m WMBIUSDA y BVESisa, olAtrMJlKA

Leaahr, M. de Beriol.
Act I.

0»eTt«rr (Tiv di-«lrv>. Aiiar

Qoartn, - I'ln. i.lo <• U nwii- ' ■ | (llamtmrnt

Solo. MadaoK Carailori, " Soari Ze&ri" . J MtMxrt.
Soag;, Mr. Vaughan, " lu life's pty kimiki" . Cn/Zcrvt.
Duel, Ikiadaae Canidori and Mus UacmAiCrocialomKaiae}
"Batpviaa* . . . .j Mtgirttm

TiafiB,Mr. KieaeweltHr .

** The ailler etowB*
imu, Vaagbaa, Etliot. Bal-
■aoiy, and Pbillipii, "Thou ait beautiful" . CWicaM.
Cavatina, Mad. Caradori, "Ah! come rapido" (ChMM>toJjpfll(k|
Don, MiM Stepbeoi, and Mr. Biabam, " "

bopo,im«r
Piaato,

•Now

Aor n.

OveHoie, X« (tan* tmtm

Scrna. MiM BaeoB. * Elm oh (X« J

lift f.af/a) . . ' . Rnirini.

Clev. Mi'HT,. Knyvett, Evans, Vau|;haii, Elliott,

ami Philhp*. '• Mark d y<ju hprrjro'' . Sft^krtM,

S-'iU'-. Mr. ijKihiiiri, " J!lui: honneta"
C uiKLito Violonci-llo, Mr. I.u>dlej.

i>^af, MiM Siepheai, "L^ hm lha (aaila

Urk," f Flute ObbK^lo, Mr. NleholMn) .
Glee, Miaa IX Travti, Metara. K a y »ai ^

Vaugluta, and Bellamjr, " Bird of the wiMto*

neM," hannoauNd bf MbGoMtau •
CanioBctta fraiaaiit Ma^Ba Cuadoiit "I*

pluajolie" . . • •

Piaale," ThaTiaapOHuaVtha wlaaby 1B«
Ttaria .... Sbkpp.

If. dt Btotol appeared this emfaig, for the tirst time is

this country, as the leader of a band, in which cfaaractar*

bis mild, luudtst, and Mliawuniing ileportment, must, I
thinlc, have gained biin tbe good wihhes of all the orches-
tra. I eonld list, however, help thinkin^^, that 1m took
the Introduction to Amemn A Ihwght too •lov. Ths

only novelty in Uiis perfbrniBnoe, In tM vocal dinmll—il,
was the glee lot four voice«t, " Bird of the Wildcnwub"
harmonized by Mr. Greatorex from an air by Dr. Claifts

Whittifid : I hiijji- to hear il again. " Hlue bonnets OTCT
thf BlikU i" is miirr tif.id for a theulrc lluin a concert-
room. 'I'lir- r inccr'.o on the violin was piritiiTnrd hj
Kiesewrtler in hi.s ^uijcriur st)le and maiini:r. I am told
that it ha-s bcoti said d) those of the " adverse ilidioiu"
that there is u good deal of tridc about this gcutiuman's
playing. Kow even if it be no — (whicli, hy the l yp. I do
not allow) — who, I would ask, ctm play M u-h tricks hat

• Publiabedia tbe S6ih Nuabet «( tbe Harmonicoa.

' SI s

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THE HARMONIGON.

UaMrir? ud lurely b; triofci if MMh tiNJ «e— flo diffi-
tult and yet so pteasiiigi dMR b • gnlilailiMi ia beiag
eheated. The Omtan to £« G«n« IioAw I bm* beard

go much better; the side dmm was ineificient. Undle/a
Concerto on the violoncello had all the vigour, if not the
frpithneiin of youth. His performance never fails to please,
enrf his Birminf^ham friends and admirers gave him to-
night loud and gencnil applause. Atler this concerto
there was nothing particularly dcoerviikg of notice.

' Cm nVMMDAY MORNisa, Oct.t,MSt, FBILl^^S

CHURCH,

THE MESSIAH.

' Mr. Braham'a " Comfort yc my people" WM,
very iiia- terly ; 'lis a fine specimen of the art. TSwre is
no ijiiiper of the present day can at all compare with him
in it. A very jiidiciuiis curt.iilment was made in the base
song, " But who muy ubiiie the duy of his cominff ;" it was
always loo lonj; ami ri'iU.jiis — tliu wonder is, t!i:it nn one
ever attecnpled to aiiridLr*' it bffore. I lu-vtr lu-urd the
cbortiB " For unto us u diild is born" f!;o worsu. Had I
•ot known that the veteran Greatorex was at the orf^an, I
abouM Ittve thought that some inexperienced performer had
got poaseasion of the keys, and was reading at lea.st ouc
of la« passages in a wrong clef. lu the several Jlecita-
tlvM wUch ibikm th« PMtonl Symptwny. Miai Stephens
iiwbmd(Middili^it«l nMMBUidi m eicr. Iwasa
ntOodnanpobledtailBHPWoB't •'R^oiMgr U
ms not Mtogedicr what we have been accnitoncd to hear
from Mra. Sahnoo. *' He shall feed his flock" was, like
the base song before mentioned, very judiciously shortened ;
both piei-cs are much improved hy reduction. In the .Air,
*' But thou did»t not leave his soul iu hell," llie clarionets
and bassoon were introduced, but it wa-; mere v fci.in^^ th«'
violins and violoncello parts to the witid-iustriitneiiLs.
A -similar iliiii^^ was done with " How beautiful are the
feel," but nothins: was gained by the chan^^e. Besides, if
windJllBtruments are to be admitted, why not use those
of Mosart ? The whole of ttic choruaacs in the eecood
and third acta were performed with a degna of anmnraiid
pradiioa thatiaaekkMa aquaUadiMMlwaaa«vir.p(

On FRIDAY ttORSINQ, Onober 6, at Si. PHILIP'S
. CHVRCH.
PAarl.

Cliorai,"fininorlal Lord or earth and ikici" . (,DA m k)HmM.
Jteeit.. MiM Stephen*, •* Aht I I ftnd the toil*"' 1 f ibuniinrt ff naJM
Air, diuc., " If suiltleM blood be your iotcni" wmmfa main
hccit., Mr. V«u«;baD, "To heaveg'a Atmiebtjp"
Air. diUo, (Viokm. Obbligalo, Mr. Liadley,)

"OlibertT"
Daei, MiMStephaeaaadlllMnBrig*' Oaavat

faowvedowa"
Chorut, " W, neT,r will bow down"
Bccit., Mr. \ aughui, "So will'd mj fnther" .
Trio and Cborn,, Meiiiri. KajreU, Vanrhan,
Bell»iry, Gouldn,, Kllioll, aad PhilliM,
" Diadaiaful of d»i,t» . .

Bcail., Ml. PhUliH, ''^Ba eonrottod"
fUik 4iMo. »Tlw Laid woikMh wondais"
J|aeil.,Mr.Bmhaai,''^raiMr* .
Ah, ditto, " Soood an alUBP* ,
Chonu," We hMr" ,
Recit., Mr. (i<-llamr, " Ilaitewt,
Cbaraa^ " Hear u>, O I.ord"

JUwU-Miss VMoa, '• O let eienal hoBoan"
Air,dbMii''lm»ishi!

awghiy Kiafs"

Grand Cliorus, "The arm of the Lord," (iatfo-
dttced bjr Mr. Gardiacc la his Onriaiio ot
AhM)

Pabt II.

TBlUMPtl OK GIDEON,

A Satrtd J hwmu (tht Mum Ay ITiMfriwUb SteoHi ftm

of iti Ptrformann.

Overture.

Hecit. Accomp.,Mr. ViuKhan, ' llath bops faibeoa.'*

Seroi.Choru>, " O Urael, fallen nalioD."

SoDz. Mias SU-pheaa, " O l^rd, our G<>d."

Recit., Mr. P)iilli|i«,'' I bear |;lad orvra of victory."

Qiiarirt, MiH Paton.'Miia Travia, Mcatta. Vsujfhaa aod PhiU^Kp

" Peace all adorning," aad Cboou.
Recti., Miss Paion, " Bui «hM avails.**
Sgmi-Cborui," To Tbcc, O Uiid." .
Recit., Mr. Vauirhan, " They come."
GmnJ t 'linraii. " Kluw the truoipet."
Iti c.l., Ml B. Ujciij ,- TMcae, as Ibey «
Air, ditto, " In winter, awfal Thou"
Quattat, (anmsd isr a fait baad, by Mr.-^

Creeiores,) Hi« "navls, Mesar*. Vau^lian.i

Knyveit, and BeUaaiy. " Our aoul with)

patienre" . . .

Cltonx, " XititA, thou art rraciooa" •
Air. Mi.i r.uv.a," Holy, Iralv. IxMd CMf
< horuf , Ttte Lord shall tnftf'

PAar ni.

THE MCSHm'E in the Siith Grand Coitrrrlo'

(arranged fur a full bond, with wind iaauu-

mrnla, by Mr. Greatorei)
Spring (the Seaaov*.) iba solo parts bjr Miiaea'

tUphsas end Travis, MaasiSb Brahara,

Vaachaa. Bellamy, *e.
Chorui, (newly arraaged for this aicaliiwj'

(..ury to God in dwhiglns^'fte.
Son;;, .Mim l*alon.

I uther't llvmn, Mr. Bra ham sad Chonis.
lt< cii.. Mr.'Bcllamy," When Kiag Da*id.*'
C .u>dCh)Bra^'<Godswn4ieKiif"

I caniuit imat^iiif a lien>T-se!ectr'<l jjiece Id rommence
pcrliirinjuici', tli.ui (lie (fi Jiui chol■u^ " liuinnrtul Lord;"
it is iiidce<l a noble com[M>siti<in, and was nobly performed.
I will not sa> so mucli (or ibe |>erti)rTTiance ot l.'ieair, " If
guiltless bloud;" to whom the fault is to be imputed I
will not say, but with the tuiuic singer, Ute same leader,
and the same conductor, I have heard this identical song
exceedingly well performed. " The arm of the Lord" ta
a niagnificeat chorus, and the musical world are much
beholden to Mr. Gardiner nf LfiTifitcr, foe haviqg I
itintODttbUoMliea. I an' of OffWn, Ibat At I
ibbcd ImiIiim is ttaBbi
what gfaraa than to dccidad a superiority ovtt aD (
pNnrfnehd maaliag t with ttie exception of York only— ia
tha atrcngtb and excellence of their chonvs ; for as the
mqarity of the principal sinirers attend very nearly all the
country ineetin({s, the songs, duets, &c., will, generally
speaking, be perfornied RS well at one [jlace as another.
Iu Ibcir chorus, and the excellence of their instxumental
band, Iliniiuigiuun bears away the palm.

" The Triumph of Gideon" is another novelty for which
we are indebted to the Uinningham Committee of Manage*
ment ; but as my remarks nnMt balioiltedt I will only aay,
that no one movement gaya aa MM phaane. than the
Qnad Marcb for winii-inMnimeou only and wbkb, I
btliaTC^ waa eonpoaed fbr. aad preaeated H *ba Ba^yi
Bocie^ of Miiatciane, by the eonpoacr, Wihtbb. wbe« bft
waa ID London. Tie, needless to add, that it was adaura*
bly well performed. In the third part, Misii Paion again
didighted dm in tb« air "With verdure dadi" it left

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.THBBABllDlffCQH;

nothing to wish for ; I never heard it better !iung. The
monuoiK ptifinoMiioai cloaed with th* van umopiwte
1 Ml eboro^ of " God

0» niDA r BrSSlNQ, mt Mf TBSATU.
LiMhf,llr.¥liiHiM. ■

Act I.

■tefcoiatC Minor

FroM Sceoe, tha loki parta hj Miu Ttavli aad

Mr. Philttp*

Ckvatiaa, Si^oc Curioni, " Se olla nr «> n-nor"
CltatMi—StepheDt, Mt»»r». KtiTvc i:, \ in.- .m,
1 PllUUp*, "The luit fVuDfte ol Liio,"

Purrett.

nUliP*. " iiie lai« gii

nMbjrflitJ.aiavan

I H» CttaaMV*
I Mr. Pbilliui, " Oh ao, we »e»er," ar-
\ fcooi ■ Fteacb Air
Quartt-i, " Tilt- mttid who'd «iih" ( InUrrupttU Saer^fe^ Wilit»r»
Scifi,;. Mr. I):.iliani, " Kelvin Grove"
Finale, Miaaes SivpheBs and Tta*i% Siraara
... . - - Mi Mr. Iltafil^

Cwieoi and Da Bapiia, i
«Akt (aankta»

Am n.

Orertore, E*ryanthe . . . fFeber.

l>aet, Miu Paion and Hr. Brabam, " O wbcn')

tin™? c)c'' . , . . ( (iMer. Sacri/(ctj

SoD2, M iaa PaioD. « Thaia wa* a iW . ( Wmtir,
Se*teC, " Now love aad paaca** .}
Cooccno, Flotr, Mr. NicholioR
Ballad. Mim S««plicM. " DonaM" .
Duel, Sipiors Curiimi Si l)r t{rf^ii,"Air Idea" Rottini.
F»ntaii«. Violm. M D^- lliiml

Ballad, Miu PttiuD," I've bt-eo roamiag" e C.Horn.
BeeMfSkmOaBMiDi^ •'I Vialfari" . MaMa.
VanaMdCbaRnT'oad ««• tba Kh^

Beethoven's diflicuU nnd masterly sjrmphuiiy in <' miucr
lad with great .spirit by Kii'^cvcUrr, nii .irt liiiusclf, as if lio
Wtn determined nut to be outdune by his neighbour.
Tin '* Flrosi bccuc" of Eugland'a bouBt (Purcell.) waa well
"iH— ^ by Mill Tnvis (hcie ihe was nt Iumim) and
llr. PUtlips. Mr. J. B. Cnaner*a ooooerto Nenied to

EUaae, if possible, more than on the first night. But he
I always great, and caujiol play ill, even if he would: in
this res|iect he stands alone. I wisit Mr. Brahani uuuhl
coufinr his " Kelvin Grove," w ith his " Blue Bonnet''," to
tlic ihcalre. The fir-^l hurst ol' tin- h;uul in tlir cncr-rrtic
Oveiliire to Euryciiilhe bears down ull before it. "Tis in
tliLs 8t)l(' thui thr English orchestra excels — there is no
rt'sisliu^ it -uiid there is nolliin^ like it. Mr. Xicholson's
ctuKiTti) tin the Mute » us luuch a(liniri'<l anil most warmly
applaudcil ; and De Bi-riot's fuiuasia on the violin added
another laurel tu ti;-, liriiw, and fully maintained the fame
be so well earned by hi.s concerto on the first uighU The
performance finished with the uatioual song of " Qod Mva
the King^" ia which the audience heartily jmned.
I MQ, Sir,

Tour obe&nt Servmt,

A.B.

ToTAii Kwairr* at ths i>re3C}<it twntm.

TuetJajf:

Cimuchf-
Tkaam

-Ad mils ion
Collection

OH.
£.

CGO
700

S.
J.

IH
0
U

d.
0

ChORb^Admttdon
OiMa W iaa

-ISM 10 41

ISOI IT
49» 8

A a. A

Brought forward .... 44t« II ll|

naratlBy, Oei. 6.

riiuicli,— Admi«ioa . . . H97 0 0
CoUectioQ . . . 19 T

Theatre 4»8 0 0

FrUaf, Oct. 5.

. , . 1258 T 0

. . . SS8 II 6

MM 4 0

-•Mt t •

SaleofBoolu^aboat

IS Hi

850 0 0

£9,ir.i 18 114

In die above colk>ciion« are inetuded donation! ftora Ibe follow*
in; perfoo:— W. Roir«, 3i)0<.— Barl Howe, 100(>— Sir R.

Peele, I04M.— W.C. Huoel, U.^.. lOOt.-Earl Damnoolh, SI/. lOtL
— Bari Diwiftlll. W of Plyaoath, sOi.— Lord OudleT aad

Wan^ SM.— Leid Willea(hby dc Broke, aof.— l>ord Acton, SO/.—
Leid Caltliorpe. M/.— Jnlin Gnuifh. E*^., 30/. — Henea;|;e Ix-Rlfei
Biq., 40/.— J. W. liiji-, livi , 40/ — Buhop of Licbflrld and t.ovrn-
tr;. SO/. — I^ord lli-nurli»ni(), iW. — I-ord iUgol.iOt. — MiuColmore,
*<(/.— Jaitie. Tavlor, tt i., «0/.— Mr.. Taylor, IS/.— Mini Tavlor,
15/.— A. a. lUlliogaloo, ID/. Ilh.— A Fnead, 10/.— Lad; laga.

10/.— Mta.WUkiMaa.lMii— W. Witheiiac, En., IIK.— Aicbdcacen
Buckeridga, «. U^-tuA 8p«neer, Sf — ^E. J. l.tttki«B. Eaa., M. P.,
Siw— Wm. Cm, E(q., S/.— Mre. Jamei Taylor, ti.— iMjr Saiah

^roat a BirmmgHan Paprr.
Tbr following ia a auniniary of the receipu, from the time the
Fextirai «a> oMabliaiaad ia lb<« town, to ibcjeai tasl, ttom which
ii »iii bo MHMi they hava tupOtdf i ae w a a ai ia aitiaetiaa aaA

iniponance.—

£. a. t.

t. f . s.

Sep*. ITM . .

. im 0 0

■

•

0 0

Aug. ITBT . .

. isao 0 u

•

964 0 0

. 190} 18 0 . . . 95ii M 8
. No FeMivali ibeTlwMiadMtroyed by Fire.

— ms . .

.Sept. im . .

. WH 1 0

897 0 0

— n»8 . .

. S5t4 0 6

MT* 0 0

1W8 . .

. 8880 IT 0|

•

>tW IT 4

Oct. 1805 . .

. 4?22 6 4

MM IT 11

1808 . .

. Sill 13 94

S8S7 19 8

1811 . .

. 6PS1I 9 9

•

SRa9 10 0

18H . .

. 71VI 12 0

8111 IS 9

1817 . .

. 8746 6 »

•

4S»6 10 10

\fiii) .

. 9IU 4 7

>00l 10 11

1823 . .

. lOSSS 14 04

•

BREGON BISTBDOVOD AND MUSIC MBETOfa.

This national meeting commenced on Tuesday mornings
Saptamhar 86th, whan a number of madala and ptramiuma
wan awaidcd far the beat poena and aanfa «b vaviow

subjects, eooneelcd with nmrnX Briliah Ualon.

In the evening a eoncert wax peHbnncd, at wUdk

Brahani. Misa Stephens. Miss Johnston, Messrs. Collver,
Rolle, M<iri, Lindley, Nicholson, Haq>er, I'arry, jun., Scc,
&c., exerte<l till nisi. 1m:^ nxiit sucxr^stully. On Wedn('s<l:iy
morning a si U'ction ol sacred iiiu^it was performed in the
chureli, and in the e\eti!ii;^ u '-ec<iiul concert at the Town
Hall, which v»iis crowded. The whole of the eiilertain-
meiiU afforded the highest g^lification to the romjiauy,
and the thaiiks of the noble patrons and ^udmcriber^ were
conveyed to the proiesaional ladiea and gentlemen, by
Mr. Parry the Condnctor, in a manner that must be very
pleasing to their lieeUiun. The next Grand Congress of
~ wfll baMd aiOwMTiWi whkh ia

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m BABMOMICOir.

3^ebie\o of f^n&it.

BISHOPS ALADDIN.

Tm OrBRTUKB *nd Mcsic <• Alabmw, t, Turn Woh-
mam. Liar. « Fury Opera Ik <*«• Aett, ftrftrmei at

the ThMtre R»fal. Drmif-Lana ; eompoteil by Hrnry R.
Bmhov^ Com p &ttr to the Theatrt, Ik. Ik. (Umildiug; and

TilK opiTiLs (jl Oh'-ran and Ahttldiji wrrp prujri-tccl np.irlv
at lh<; Miinc inunient, ami (heir rusptctivi' iu>ni[Hi-iers were
enjriiffctl on thetii (liirinn- tho n;i:iu' pfrii»l : — the dramas
Were known to be fouiuU'd on iln- niasst loiiiiiiiLic i'ttbies
extant, in wliicli Hupeniaturul agency wa.s eni|)loyed in a
degree amotuttiiig to cxtraVAgance.- — in both, the scene of
mSm, th« manners and costaMia, if iK>t entirely alike,
HWe partly so, and bore a wry considerable rcaemUance
Ibronghout ; — and they were written (or compiled), set to
pnrie, Midgat 19, to tl)«tmgiMiiml tliMitrts. Isit
ttm BMAter of wonder that Hbn puUio ihould iMm aaen
SMMthin^ very much in th* ihipe df eanpetiliiHi to Ikt
tiro works, particularly whcD it WW niuwu m d tbrt Aw
preparations for both were running parallel, and that they
Would be >iinultancously produced ?— Or, rather, was it
pOMlble uiiili'i MU li an (■\tra<ii<liii,irv crnniiiiiutiini (if insti-
gating i.i|i'iii;i>>t.im I S tor tiie pri[!Li|j.ii ii]iiTiit<ir>i to
resist an ] -uIhIih' ii ■■pirit of r<im]>i titrit-.|iiji ■-■ — ri'osoii-
ing fron» our cxpcritnCf of human natiiri'. vvilliout hesi-
tation answer in the negative; and, moreover, are e<]\iully
certain in our own minds, that, in sudi caseti, to banish
every feeling of rivalry, if practicable, would not only be
highly prejudicial to the public, but to the art itself ; for
what is a greater stimulus to esertiun Liiaii emulation, and
what is emulation but another word for oompetmoii.
though the term may seem a lilde mitigated? lint the
Gctnui Mt rnnch leia oT ihii in the BNsent tottaace than
Hm Kb((1Mi compoMT, w« en, Ibr mrrioae leMonB, have
no doubt; but that the latter was not strongly exdted by
it ia a belief that we should be doing him injustice to en-
rauragp, for he liml alniHty won -a reputation in his own
fwuntrs. and it was nu Urilish prround llnit a n>iilt>t was,
lu tdrdiMM; to general opinion, to take plnrc; an njiiiiinii
\»ith wliicli he must ha\e betonie aeipiainled, lor mIui li lie
could not luit have tell tlial there were at len-it plauwlilp
grounds* and whereby be must have been determined,
^Smt to appear manfully in the AeM, or to yield it to the
■iMager witixnit an effort: then ww no metto ttrmine,

Mr. Bishop adopted the boUer Mone; but, putting the
aaMfeiHwe talents ef th* eefa ww cnlMy mt ef the
qaeayon, hadU no»enlnrtteaMna«Bdirtha eanw advan-
<«gea ae M. voa Weber poeeened. The story of Aladdin
bad been too often and too recently on the sUge to excite
iate r e e t; and, according to a very prevalent feeling, it was
dramatked fur this occasion with lees skill than Mr. Soane j

has exhibited in most of his other melodrames. Wo wera
too late to see it eahibitBd, but, if a judgment of the whote
may be formed from the poetry set tn ■MMte^'fl oonU not
have assisted 17 twyiriiig the eonqKner whh aay aawoK
noble thought*. Ih* Mmgenent also at the iLeiiie
not in a state to ghw flw nMMnty aid and snppont to «i
cntcrprisa of list iste tatpottonea;- it WW atoHfnmcdt
divided, and confused.

The lot of M. von Weber wns ftr more fortunately east;
he bad Wifhiiid s most popular poem, — adapted to tha
stage with great ability, from Mr. Sotlielty'^s excellent
' \ersion, by .Mr. I'lancht^ — to exertisi' his talenU on, a
I work wliich could hardly fail to rouse the tancy ol auy
I composer, and suggest to him mivel and brilliant ideas;
I particularly a Gennan composer, and a man of letters too,
I who would fed all Iha force of the original working on
his imagination, while aetiiug his notes to the translation,
lie was likewise well eeeonded by those who had thn
directioB of the theatre; in Mr. Kemble he found steadi-
ness and Judgment oombtead with activity.

^H«^Imw of die disadvantagea imder which Aladdin la-
boured was, die high pitch to wMeh pdilk expectotioa
' had been raL<<cd, during its |>mgiaw dMndl rehearsal, bj
indiscreet piiragra)>hs in one Or two sf flw ncwBpaperSi
Lauilatory artit les ol" the deecripdon we allude to are not
mere ly ineUVitual, but they do positive injurj- in most
eases- thi'V rxuite hopes which a(C veiy seliloni realized'
to the dei^ree e\|)erli'il, and then disappointment, odea
accompanied by icsriitnieiit, is sure to take place of that
ipiict satisfaction, or at least toleration, wliich niitrht other-
wise have prevailed. It is an unfortuiiirc tliiii!j indit-d
for a theatre, or for a person connected with llie sini^e,
or with the public in any character, to hove for a (Huul
one who has access to the columns of a newspaper, and
who uaei Ms pan without possessing wisdom and tact
I enough to gdda it wbeily and dextcfously to the tron
{ point— Bat it la time ta apeak more dhnedy of the volumat
before us; and we feel mnaelTea boon^ to jnidee to dm
I composer, to preface the few remarks we tHiall make, hf
observing, that not iKniiiLf hud an oppt)rtunity of wit-
iievsiiig a pcrfiimunice of (he u|»era, and, of course, having
had no means i>l l onsukiiiL: the sroi i', « c run onU lonn a
ronjei'tural notum ol (he urduxti al and (/nvHw/a- elJects
prr.duced bv several ot the ]iip.-rs. ol" » hich el!"ec(s «e aro
inclined to think that many are scattered in various parU
of the work; for indications of them appear even in the
present publication, wtiiob, a» our readers must be aware*
omits soma «f dw inilnnnental parts, and compresaea.tha
rest into a vsiy nanow cowpaw, (hat ii> into a piano-
forte adaptation.

Aladdin did not pme aueceesfid; oINr it bN*
performed a few nigjita it was entirely witltlrMrn: w« aliail
ihiretori- have less to add to what we have already eaid! Oft
the sublet, Uiau if it lud oooUttuwd on Iha ataga anA

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Btni en!»aj?«^ pvblie attention. It di^Iays (jreal lubour,
;irii) I 1. 1 little iiiveiitioii : L vcry part of it exhibits the ev)ie-
riencrd musician, while it hetray^ the vntatioHS inactivity
of the composer's imagination, ut tlic precise moment
vhen he must, it is to be prc»unied, most have wiatMd to
liring all its «n«r(pcB into action. This is so ooBunoii a
pn&ainent for thos« to fiiU ioto whose meatal powers of
VfHdoD ire tasked, thst It WOW ntlier excites our regret
Ih* naimiiiiwaM, homenr, cf mdi •

stnte of mind arc visible tlirouE;1iout the whole lit Aladdin,
which shows how link- the aot^iar hiis been indebted to his
fancy, and how much to his industry; for, lio far as out
knowlcdjye of hu works extendi, he has never produced
an entirely new opera with so few claims to ori^naHty m
the present. The Overture abounds iii recollectioBs of
WeWs style, and it:^ want of freshncae is felt before hell
finished. One passage in it,
iaHw biiMt to curioiu ud wwtii eitncttivj— *

The symphonies to the first scene, and the following air
Mottrad, remind ns strongly of the opening of a cboms
kiiLm JPimiM dd Lae^ and of en aria ia Tmaermk. The
dhoraa-flf bafi ""V ^ apiiiuiBlali^ bat h hH no pertnt*
■iona w anne. Maidin'i first aonfr. ** Are 70a bb^,
natlier?'* It » dmnning melody, end deep enough for a
•onti' alto. This was very judiciously contrived, although
Wtftten for Miss Stephent, for heinj' her first nppournnce h»
tkaeponi, rind in mnlr nttin', nii nir rompfi^rrl fiir thf iijipor
part of her Voice would much have diininishcd tlie dra-
matic effect of her entrance. The fjuurtctt, " Doctin-!
Doctor'." and the frdlnwiny ncenc, may bt- |)asscd without
comment. An cUilmnito " .Scttia" succoeds, tJt■Iuu^i of"
flamr!" a niaiiifi-il iinltutinn, riii<l without any (uif trait
that can Iw c.illi;! slrilviiij^ or new. We oVispr^o wilti
aegvet tfie paius tliat have been bestowed on this part, and
4kaiaaidaqo«lere8nU, nntsicalty 'apeoVing; let the r«tder.
iMaMver, adecrt to 4lie acknowledgnieat we hare made, of
being unable to give any opinion of the stage-effect of this
fipera. The qMOtett, " Ucni ban! hm!" to flonbined
In elegant taata, iDd cumat IwApleao^ ddwr in Iba tbMin
mrflie df»«iiig<«DaiiL TheABadtybiAebltarpbMarill
ft* to Und fimr aopraao voieca to ■Inglt The mloe Ibr
Aladdin are melodious, and well relieve the other part.s.
IBie chorus, " Nourraahnl! " is dramatic, and the «.-N'n»])lioii)
pOKBCssc.H a g0i>d dial nf orifulal rlMn.tir, " A hundred,
the noblest, wait mi her thrrnie,' i.illtil iii'ie a romaner,
though for two voiee-i, is fur lr;un uncommon; l:iit the
jfosloraie wliich forms part of it, with u drum- ucLOni|ia-
niment, ia a sort of movement that seldom tails to excite
An agreeable feeling, 'lite finale to the fiirst act opens
aoflly und sweetly: the effect of the latter part muht de|)end
ou ecenery. The Fairy March at the end is eoUadad firum
the overture, without any inmroving touch added. *

Tba opw i lMr of the aioaw i oat a l o i da ua»o mn i o i t ast ily
<Df liwtwIiilaMH Ifc' ^i*^ — hto aoaoaaa ia writing far
llMaewpcifbraur.MtoaJokBBaK *obdladtoMwtmot«I
flf MMab thai on ooythiag bol raeo. Tho aiino may
M«Mnad«r «ho«iioe(picHt oir. " Sister. I boaa lorcd
ttoa wOf* nt-podkf in this — {poHry, did we eiin H?) —
loiha ofcMt the " poet's veme" sincinj with " grdden
Iwugucj** But in pity to mir rcadLis we niunl refrain from
mentioning the words of the jii event i>pera. llicn iollowfi

MacfajastnimeBMdiMMWta c oBMyaB y iagtoa action on the

stage; this, however, and mdeod we laay add, the reot of
tho'ploNa (hat ore oxdiiaivcly ovobaaMli do nat ahosrtbok
the pn a Bf o m ta ydudug worn waa obio to drawr hn^idy
upon Ida atoraa lor novelty. "We haisomarararitallvooM

air, ••Tremble, ye Genii!" as loud and as rough

" • as lea Sctovooiaoi when lUtry >cold."

The brief, agreeable episode at " Breatlie but of the
morning rose," leads to u hope of a change of feature,
but the turbulence soon returns. The duet, " Kre the
stars of night ari.se," in graceful und pretty; it wat in-
tended, we suppose, to be no more, und more cannot be
said of it. The quintett that next up|>enrs, " New lamps
for old," is a .spirited, ingenious compoiiition : in the trio
lor the three genii of tlie lamp — a repetition of part of
that which they wng in an early scene of the opem — tho
flat addod to b, girag • ndnor third to tlte chord whidk
before was major, ix a very felicitous tfaoo^t. We haav
next in order a Chonu of Htudmtem, modelled aftaT

«Mier'a^ ^ II^AM tmmMuS''^'^^ *^

waa pot together. If tfaa author had been blind enou^ta
iaifodnea ancfa njiieee, tho c owp o e t t thodd ham rqecteA
H; and if both had aoHtflo fbrmjfat as not toaeonhdt

must indubitably be flie result m such a measnre, tho

mnnnger ooirlit In fi.ive interposed, for the bi'n<'fit nf tlii;
other parlies, a.s well a.s to save his own credit « j(h the
public. The air alter lliis, for MisR Ste!ihen\ •' Tlie days
of ihc valley," is in Mr. BiKhop'i jileasant liullad style:
like " Arc you angry, mother?" before noticed, it is set
very low, and is equally simple and cosy to execute; con-
sequently both are in great request with those amateurs
whose ambition is under wholesome oontooL The song
far Binclsir tliat iblloors, " Thou art gone," is strongljr
expremve, and tlie cantrast of the nidor hey, in a tone of
lesignstion, ia well concdsod. The flaale to t bitnct ii

pinaged in doqioat ttoi^, teraind him ftrt**AlftUI ki

great!" The ■eiteratloa of this saerad mA. «■< tho «di

(if the jifnerzin from tiic Minarettopssyer, awaken in tho
\oath a ray of hope, and detenaiM hon to acttaa. Tho
plain, r'.clesiustieul hurmuny of (Ui dbMMTM^ bO OMt*
wunicttted in a tew jiotes:—

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AUfgro.

(f rcAi ! • -

I I I r I I I I I 1 I 1 11111

ii44.|444i444 .44i.i [JJ_ |

— -©-

Willi ihe third net of this opera we shall detain the
reader but a short time. 'Ilie sonp, *' In my bower a lady
weeps" i" in a htrain so much like what we have often
heard, that we find «onie difliculty in treating it as a new
composition. The next air, " It i» night beneath tlie sea,"
•possesses the merit of pilety at lea.st, and the symphony is
pretty and syiph-like. The piece tiiat follows, " My Araby,
my noble steed," a kind of bravura, ix very considerately
addressed by the Schah to his horse. We repret being
obli<red to say anything ro uncivil, but really this is more
suited to ihe taste of the inhuhitanLs of tlie Ntable, than of
the visitors to a theatre-royal. The two following com-
positions are repetitions, brought in again, no doubt,
with good stage-effect. The Finale— the i(t.%t Jinale —
to an opera, seldom is intended for any other purpose
than to give the performcni lime to make the necessary
retrograde movement, and to prepare the sccnc-ishifters
/or the dropping of the curtain: the present does not seem
to pretend to anything beyond this.

Ilad not Aladdin been placed contiguous to so over-
shadowing an opponent as Oberon, it might have survived
a little longer, for it possessed some vitality; though we
cannot think that it promised, under any circumstances,
to live long. But the towering height of its neighbouring
jrival blighted and withered it, before it had time to try
itis strength or strike the slenderest root.

1. Fantasia fortht Piano-Fortb, and FtiiTR, ad lib,, ron-
tainiti); teltct airt from Winter s Opera, " Le Sacrifice lo-
terrutnpu," eompoted hy J. B. Crauer. (Cramer and Co.,
£01, Regent Street, and Clenicnti and Co., 2S, Cheaptide.)

SoyATlSJA for the same, mlh an aeeompanimrnt for the
ViOMS or PlI'TI!, ad lib., competed and fini^errd hy J. B.
CaAMBR. No. 8. (Craincr and C<>., SOI, Regent Street.

The Fantasia is an elegant adaptation nf four of Ihe b&st

■and most popular pieces in Winter's opera, making as
many movements. The first, which may be considered

' as the intruductiun, is a very animated allegrt* macstofio ;
the second, formed of the opening chorus of the opera,

•Ls a soothing andante, tertninnicd by a brilliant cadenza, the
latter leading into a military movement full of spirit; and
this is followed by the favourite qiiartett, arranged in the
author's well-known maimer as a rondo. There is nothing
difliodt in any part of this fitntusia, yet it is so contrived
as to produce a remarkably shcwy effect : it will enable

-the perfomier to make a considerable figure, without
costing much time or labour in previous practice.

The Sonatina is, we hope, the continuation of a scries.
Tlie fir?>t came under our notice some months ago, when
wc expres.sed our wish to see another soon ; but a long
|)eri(id has since elapsed. Tlicsc arc usefiil publications,
inasmuch as they prepare the young j>erfonner for Ihe
composer's superior works, which, if her master have any
taste, she will, as a matter of course, take up when further
advunced. Besides which, it always flatters and en-
courages young players to have a distinguished name
placed before them.

1. Variations on a favourite Ruuian Air for the Piano-
Forts, by C. M. DB WsBsa. (Cocks and Cu., Princes St.,
Jfanorer Si/uare.)

9. nRii.l.iANT PoLONAisR /oi" Me PiANO-FoRTB, On the Ger-
man Arietta, "True Love," eompoted by J. P. Pixis;
edition rerited, jr., by C. Dumon. (WcMcl and Stodart, 1,
Soho Square.)

3. First Gramo Capriccio, i ta braeura, on "La'Sen-
tinelle,'" and a theme from La Gazxs Ladra, for tJte Piamo-
Fortb, by Charlbs Scuumkb. (Boosey and Co., HoUei
Street.)

4, Alelillo, a Spanl.^A Air, arranged at a Rondo, Kitk an
IntriHluclion, f'lr (he Pia.mo-Fohtb, by SiXTo Pbrbz.
(Cliappell, 135, iVeio Rond Street, and Ciementi and Coh

Cheaptide.)

The first of these is an air now well known amongst us: —
M. Weber's variatinns to it shew bis science and inven-
tion, and his introduction to them is in the fine romantic
style of bis overtures ; but like nearly all the music vrrit-
ten by him for the piano-forte, the performer is not con-
sidered for one moment; tlie passages are, with scarcely
an exception, so ill adapted to the hand, the skips are so
unnatural, the notes are so crowdetl, and the nece-ssary
contrast of light and shade, — of nnencimiliered melody and
full harmony — is so entirely neglected, that we cannot
recommend our readers to torment themselves with thia
cnmpositifn ; except indeed such as are of the \dtra party;
those we must resign to their taste.

No. 2, is a very pleasing composition ; the subject is
melodious and lively, and it is expanded with ability.
Some few of the passages are awkward and difficult, but
as a whole, the polonaise need not di'ter a tolerable pro-
ficient from undertaking it. We cannot see what neces-
sity eustcd for inserting a second name in the title-page ;
it is mere advertisement— downrigtit puff. If indeed it

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225

I of iqpoitaaee, one (hat wouid auction and w-
the pnUioition— M in Uw caM of tha Studka
hy Hwtj jiwtiftcHcw n^gfatba plwwteri ; IhU there ia not
tha aiiadow of aach an excuse in the present case.

. H. Scbunke is a sound musician and a brilliant per-
former, and when lie has auflicicnlly aslouisliud us is-
laiMltTs l>y h\'^ |ir(.'ci[)ltim» oqjeppic-, nlai ■iiiiiL': ili'-t.iiin's,
reiteruti <l notes, (oiil) fit for the ami ir>t«'nv t a\ in^

•jf tilt' fiiigiTs, tojjetliiT witJj ntlier fearful Nipii^ ol Ins
J)rcsi-iit taste in CDniiMjsiliun, perllaps he will dt'stf ml truin
tlie slili.s on lie is now niiKuiled, and relitvc Imtli

hiuiMcif and othcis liy a little Kimplicity. We make niucli
allowance for a new comer to our countn', well knowing
that, unless he possess very cofninandiug talents indeed,
he must, at first, work his way by means that he perhaps
ittwwdly d«apiaw; but after a certain tine Us object is
~ to M itliimiii; — for fathionabU pcopl* miou Uke

• nm thai cuBoi speak tbcir native laa g ua he then is
•ipeettd b* oritics to display the ml tjulHiw of a
ataattr, and to reacm his lefmeaMfai far tbo vulgar, la
wfaatew nnk he may find thorn. We trust that M .

Sdninke is now comfortably settled amongst us, and
therefore hope soon to see something from his pen more
a(lilrc^>e(l to the feelinirn than the alwve work, wliich,
tliouirh liuiUoii two »'\Lellenl airs, i.t so luailetl wilii uoUs,
thut the mclodlt- it < i|uite sink nmler their buitlii-M.

I M. I'erc/ lias g^uea us one <if the (ircttv national sonjfs
of his <Mi;i]trs, ill the measure and stvle of lliose dancing;
tunes that take the name of (iaariuha, and has pre-
faced it by an excellent intro<lu< tiun. If the whole had
been confined to seven or eight pages, it would have
pleased and become popular, for about such a portion of
It ia reallpr good, and would command attention ; but being
BMBt indiaefeetly spun out to fifleco, the author may be
amiNd that ha Bate will be faiveiMly as ita lci«th. To
draw out so aiUndcr a luhjact to mdi an «tent» to that
it shall not ft^giw the hMNr. i«q;iiifca kafapHAmce in
composition, and faigoniity of the lareat kind ; on the ac-

riition of whidi we shall be most happy to congratulate
Perez at some future period. At present he will con-
Bult his own interests by being more brief, and by so re-
gulating the duration of his publications, as to leave the
audltoraof ttKm irith a cming far

itmoKtu HanoMAaAniib w Weekly Joonal ^ Aa hUd
mmd m0tl admir»dfoivigmy«CAhmiui PjAMO-FonTB Mmtie,
i»'e» Km^ or l'<ro Vulunei. <Bo«asy and Co,. J7«0m St.)

tarn praaant volumes were received at the office of our
iprfaiter aanc time ago, but inadvertently laid aaide^ lo that
lhaj have boen hi our p oee e s s ion only wiUdn the laet few
dan.

Tin la a very pleasant miscellany, of Italian, French,
and German vocal music, of inarches, waltzes, &c.,
amongst which are several pieces from the Freitchutz
and Predota ; aim by I^edesma, ri.intjoiida, Paer, Beet-
hoven, &c., and romances by Krencli composers. Many
thinirs thai had appeared in the Harm(micon, have found
a place in this Journai, which we ore bound to consider a.s
a compliment to our taste in selection ; though where
English words are set to foreign airs, we cannot coiKienti-
ously say that llt» adaptor engaged for tlie above work
has alwaya been eucce es ful in the execution of his task.
Nor do we think it waa politic in the publishera to insert
" ' t songa in a work got MD far aala ia the Bridah do-
withoot an E^hihiiMilariim. YIMbm Ae
jwdd alMiA ahm, GT Ml^ Mi^ ba a

though it ia almost iifl«(iaUy the practice of the HaMiiNiI-
coD to give aa English vefaion of il. The plaao-ftito
nnnie— chiefly w. i> r is eaqr. and (ha voeu oomposi-
tiotis within the < • n.i.i s. both as to voice and execution,
of the generality of umateun. The plates are closely
engraved, in rather a diminished character, so that much
matter is compressed into a siuall i>puce ; and if all the
pieces contained in tlic two voUinicn harl been equally un-
< \', eptionable, the work wmili! li.ive hicn nnconunonly
( lu'up ; even as it is, the price iucd on it is quite reasonable.

1. DiVBanaBHBBT^fiitf Piaxa^Poara, wijtb m» Intradae*
tioa, «Nif Biaaof^a Ak^ Are yon angiy. Mather ?" earn- ,
yottd ly T. A. Eairuaaa. (OealdiBf aad Oah, -Mo '

Square.)

S. DivEHTHU.XTo friy the PiAvo-F.iaTF., inlrodudng
KlHiiur'n .lirt, •' Ucautifiil are the fieiiUuf day," and " My
Araby ;" romposrd ami pHlAithrd at above.

& Aia, " Buy a Broum," nmpoud 6y Biauar, •rrangid/'9r
tte PiAVo-Poara, mmd fMUktd at ataw.

TnK first of these is formed out of the most attractive air
in the opera of Aladdin, and the second from a i)retty
(r;<i ill tlie --^mc. Mr. Kawlintjs hd-. taxed his iiiiagi-
nation much in convertin'f thcin ir.io piauo-forte pieces,
for his augmc iit.'itions are in no wi^c dilicrciit tVom otticrs
by him that we have had to exaniitic. Imlcrd, it would
be too much to expect great novelty in thini^s niuuufactiired
in so hasty a manner, and for so temporary a purpose; if
they please fbr a few months — and these are bom to live
alM)ut some such period — the publisher's purpose is an*
swered, and the adaptor earns his reward.

In " Buy a broom," we do not miKjh like the ^/<6(rtf

-wUdk cnoi

-#-ir r

througti it, and gives an air of poverty to the whole.

The most meritorious parts of the above pieces are the
Introductions, though even these are not exempt from

1. TAe DoooNiAjr lloi(oo,/^(Ae PiAKO Foan,
t. A OaaaAH Aia. fir Ikt mm§{ fy Da. Cabhab* .

New Ssmr 8tnH.)

8. F.iirKt Aiii« tfiVA Variatt'ins for thr same, in as many
teparate Humbert, by L. Saccuini, Nm. 6 tu 1£L (Cocks
and C'u.)

4. KvtAUJt'm/ortjf'teeond tet of <2oADaiU.as,yr>ai La Dane
BlBBche, far PiAire-PoaTB cad Fbirra. (Bm^aniOo.)

5. A new tet tf QoADBiuas from Elisa e Claudia J. P.
Pixis. (MTsisel and Stodart, I. Soho Stuart J

6. 2few Carabineer QirADRiLLEs, 6y C B. { B d M rngk^

Itubcrt«un'a, 47, Prinei^ Sfreel.)

The juvenile world arc oblij^ed to so eminent a professor
as Dr. Carnaby liir devotinii: a portion of his time lo their
musical wants. Tliese very easy things for l)ejfiniurs too
often are left for incompetent persons to snjiply.

The eight airs by M. Sacchini are of tlie most popular
kind, well sdoelad.

learners.

ntnally adapted to

• So cnllrd. Ur, Rurm-;'. hittorjr irllt ui, from having been
oricinully used bjr Albert!, a very faihiaaabi* peffoiawr and oein>
powr io bi« dmj, wboM compoiiuoas sn bow anarly ual '*
vhaea van aaati iaattbateeaiiBBediaoUiriea.

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]f.MwMid is BotaUttit imkbttd to • Fnndi

M. Ptdi fa too fMi4 • noiMaB to

dicioiuily. Hie opm of Mercadante, whawe
lected his present quadrilles, is not rematkaUs ftr iia

ni**liMlii"^, — i)r for anvtliiiiij cl-ic. in<icL'rl— ^lul Im Ih^
taki'M tli it liinr .'inv iliaiicp ot i)lcasiii{^.

'Fhr Caraf'nurr (JiKrlrtUet nn- the production of a Ia<Iy,
whom tvc the pleamire of meeting with ^ain

ninmiir-t ilu' Mir;j iir.iMc. U^jr an equal to
of tbu kind that ajtpou:.

1. ThefitvOHrite Airr in MATsa'a Oprra, Medea in Corioto,
arrmngfil for the PrANo Fortb, wilH <tn nrrnmpmnimimt
fur Ike Fi.1 TE, Ay F. T. LA rium, Pianitfr in //,t Hajetly.
Boolcii 8, 3, sn l 4. ( Latour, SO, New Hand Street.)

St Select A IRK from BisMOr^a OjMrS Aladdin, arranged for
Hu PlAxo•FoRTl^ wM mm m tm fm btemt <ad Hb.) fir tk*
PtoTi, hf J. F. BnsBown. (OtaMfaif and Oh, 8M»

Tus fini boolc of Mr. Lalour'a
in mnlMHMd in a vary
oompleted in a

It of Hcdaa
Hie work is
M to proTc

' to thoie wfao, haviae haanl the ofiaa, admire
lt,aa«all'aa to atlm who wUib to gain Mne taunrlcdfa
aif what to hisMy extolled a pntducdon oootaiiu. We eaa

only repeat that which v>e have before advanced, namely,
that Mr. Latour has a happy talent for adaptin^r iu such a

way as to jirc^i_T\c llic uhii'f ctfecls uinl < lun ;ii (cristics
of the niii'-ic that can !»■ i \ pressed, tiy om- |>;iir ot h.'iiKis,
on :i kcvi'il instninienl, w iilumr l iilliiiiT u])i)ii ilu- ])errortner
ibr more than a very onlinary degrc*- oi" ])r()ficiencv as a
player.

Mr. Burmwcs ha.s, it appean to us, m nearly included
in hi<i preaeat book all thai eaiilia any attentioa III rfiarfrfi n.
tfant he cannot intend to putRue further bis arrangements
of that opera. We have here, " Are you angi;, nuther?"
*' Ere the ■tare;" ** Itt Anhf;'* " Bcanti&l an the
fldda oTdMri** and " Tlie day* of the vaHcy;" att ably
iniiytad. and devoid of any diflicidttea ttmemm.

1. ArfNlttii o/FaaxrH MBLOMMb *M Bgmfkmtie* and
I jMoa^^imnU hjf W. EAtmAtw. The wwii by W.
H. Beliany, Esq. Naa.»aa4«. (Bamtaff* Gnat JImmcT

Street, nioomibunf.J
S. TbB ll0L'<(l!BT.

The ahf)ve niimher'i of the FVcnch Mel(Mlies complete a
Work, < l will 'i \vc have, dnriiiij its propre'^s, spoken in (lie
favouni'.ilc manner «hat it dcer^es. They are in c\erj
way equal, in poiut of '-(.•lection and arranffemcnt, (o the
former four, and contain mmiic beautiful airs, anionfrst
whidi we (ind " Portrait charniante," — "Ah vans dirai-
jc maman," — and " Lc clair dc tune." The anitualing
melody to which the English words, "To-morruw. to-
morrow, oh. win not to day?" are act, is perfectly Jami-
liar to us. fl w aj g t n ot as a Ftcndi aoty: we mqiwl that
It has been appropriated fay aome pcrfinn amongal our
•omiitryuien ; fwihaps ana or tfawn who openly ahnse tfie
■Mrie of ow nc^oonra, and coTerily profit by it. We
BaddlKfit errors of enphsMs in the patlietlc air, "O
Jnig to me," but they are not worth painting uui, for iu
• y b li c a b oa ooataiaii^f so noch to iiiaini . il wouid tjc
" >todinil«B«B»

W« cannot tokc omr leam af iMa ^

pKmcating Mr. Bellamy a* Iha
Though Moore is evidently the 1
by all lync poets in praduedena of iMi natan, yet, he*
tweea imitating an original well and ill, there in this dif-
fetence, — the one is an atonement, the other an ag^ra*
ration.

No. 2 h!i« no (jiher title thiin the ;ibo\e: it ha-s no
ptihlishiT s iiiiii c, iHir is tlie place whi-rc it was printed
inenlione<l. Tlie extent of tliiN little work is thirteen
pa|^s in octavo, containing two sonjp, u Hnot and a waits,
the composer whereof i» one of the aeconipliished sisten who
recently sent into the world a volume that has been a fi^ood
deal spoken of, and obtained an esteniive sale, under
(he title of The Odd Volvme. The motive for publishi^
The Bouquet is Mtated, to a short adv«r tisea wnt» to IWM

been " for the purpose of aonlrihutiBg tomria Ike
of the aofciw Macbaaka In CBssgqw and aamrai
dBstrida." Tte emlaaaHon alone would dtsaim erti

were H otherwise called upon to p a iftm ito duty wMl

rigor ; but really these vocal pieces, thflvgh not as p ir i ng

to he raiikcel with rnniiw-i lions of the }ilQ:he->t class, shew
both talent ;inil ta'-te, anil deserve ti) he cncoiirnflfed for
their MUii merit, as well as ti>r the [^(hmI wliicli iiiav be ac-
complished tiy their sale. The tl\ie(, in the (icrnian longtie,
should have Ix-eii tran-tated; very (i'w people in these

will even attempt to pronouiKe that language,
faaonwefchideitodtoit.

I. Glrb, " In yonder grare a Druid iieii," f»r four t^ctt,

compostil i.y j. !kl*c MoKM^ Mm. B. (Cnwur and €••,

801. RtguU StTMtJ

9. FAmr Oaan. « 8wM|y w tj," fitttim i
arrompanimeat Jw tka PliUH>«FtoU'B( asa^pasMi iff ■
PAKRy. fTk* tmmt.J

Mb. Mac Mcrdis'h glee fa an elegant oanpoailion. uml

well put togetlier ; the wocdi are firelingly expres.sed. and
correctly, with a singfa esoqition. But that want of
originality which wciwvtao co Bt l nw al l y to depkwn fa <
IcsK apparent ben tbtt in
under our notice. Indeed tUa fa a virtue so ran t
us, that perhaps we abottld Bct more prudently in '
ing it as a stranger when it does appear, than in
ing its long fif« of absence, which now seem to be settled
into a habit. The error we allude to is at page 6, her 6,
where by the rejietitioB of the wrong words, the compound

word is tlirowii back, and the a en a e c o nftmd . It afaonU

have Iwcn tict thua: —

idM,ra md'

The last bars of the movement in I miner is a \er\ pal-
pable imitation of the tine ronchision of t!iai eu}ui«t«
glee of fonner days. " How sleep the brave;" llie dif-
fcrence eotisists chiefly in the meusures. Bui befi>re wo
qnit this present poldiaation, we shall endeavour to direat
I to the bcoatifiil elect prodnoed fay the dimiaished
^atjp>ye»^b|r&;^wa^h^^

tfienaaoe af Vacal Harirtfan .
Mr. Parry's fa a wry pretty iady'B ^aa; aaqr

cAnii, and eettainly not yl j^^J****!^!^!^!!^

airy in

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TUB HAftlCONIOON.

WOfitft mi b of « vwictr of ttmt Rpedei of accom-
jmita t^ee, or, more prnperly, trio, that ha<4 he^n well
IC0riTr<1 in domestic parties for upwiirds of thirty jnirs ; —
that in, from the time that Steeveus's " Bnigela," and
Moore's " O, Lady fuir," two chMming thiaga of tiicir
kind, iint y p cared.

I. Air. " rtuy a hrootar* mmgif'Mis'H T^ovr al Vaiivliall : Ihc
foetfTf by i. R. VlMtmm, the Mutic by Hajfttr K.
BiHiev. ( O iJitiif aad Cw., ga/to-gf iMire.)
4. Camsokst, **Oht naajlBiv avon to adore ok^" wrlMca hg
W. Mao OMwnt Lmav, oampned Joav BABSttrr.
(M'essell and Stsnlart. Soho S'liiiare.J

4. SoMfl, " The Banlu of the Tweed," tung al Mr £nglUh
Ofterm, im lie Mtuieal Emttrtainment, etUilUd Bcfure
BnakfaaW tomputd tke mma. (Cmwr awl Co, 101,
ttegtml Street.)

4. IlA:v<.r>, " ^tay, tnr (h^rmrr," cMH^aaatf ^CiH> (BUtf
burgb. Wood, Small, and Co.)

" or dlOw favtn tin Wit^'Vf DHIo. Ditto.

A. Do., " Wliile the breeze* of the tn<injini-,'" bv Ditto. Ditto.

7. Soxo, " The BuKk-Harn," compoud bjf S. F. RiMBAtrLT.
(GUlaolwai; Owtf JVarOofwifil Afmf^

Thm m a right- worthy Vauxhall iwng; the genius of the
place moat bvn dictated both words and music ; they are
tfw true deaoendants of what our fathera aad Bothers
hwrd when they hearkened, and prove their paMilage m
«my ftatafc. wbaterer changes may have been wrcoght
In tnt tems«f Mlnisaion totiMgudembintiielioiinor in
ftoamvMiiiatSidiatMteartlieTirftontoTiiiilian — only
vfaiU visiuits thcMHHbte Mm w that wUfih reigned half
» eentnry ago. Aniiw flonAH without a blaah of shame,
that, after a loag winter-season of operas uid coni-erts, we
do not in a fine warm J-uly ereninpf, wnllc, row, aixl chunge
Hkt county, for the pur])0«e of heuring the same Italian
l)rarunL8 repeated for perhaps the twentieth time. Enplish
song is more in uui.sonwitJi the tiiir old liriti^h ints lijiil
atill coiLstitutc the g-anlfii.s, and h c tluuilii i'vA inexpres-
aihle pleasure \fUi\e strolliiijj; under thrir branchrs, in
listanlng to a few of the beautiful mn composed for their
•oil by Amc, Utmard, and Hook. — aye. Hook, who p»-
4med muay ehanaing things — sung in the snpcrior manner
4lf (Mr iHUiAil jjslui iners. But, to return from our digres-
sion, we Rke this air. with its words, at Yaoxiwil; our
lore for it ceases the numeot we re-croea the TlminM.
WaaluMUlilEa it (bare much batter If iwng lo tlw aolMnri
mnhmttn, OBMhw itaitiy nadir' Hasfcn'ti aot an
ifhalalerai'a, OMpy.

Mr. BawMtfa ^a— o mt ia an fanitation of a style which,
In setting a particular kind of portry. is much iMiopted in
Ocrmany; a style between recitative and afr, — too regular
10* mea''iiro for the former, nnd too rh-(ioicnt it> im lDiiv
for the latter — with a hiphly roloiiri'd acc()iii[)aiimiriil,
Music of thia kind is not prodin i ii \mI1i tlu' s.-jnn- t'uLilitv
as a ballad, or by the same ui(.'uii<i: il requires poetry of
the (k'e{>est pathos for a ground-work, and a powerful
imagination, regulated by reHection and king eapiricace,
in 1^ Mm poeer. Mr. B. has not been fertaaale ta Ma
poetry, and altogether we think liis pi Mtul lawKHMl
unequal to the pretensionalt aeenn le jmt fivdi.
' Bis next song is muck amc moeciifiil, ftr it ii an «-
Caa^ngly pretty mdody. and fha iliytkni it eamprthaaaiblc
IB ril who Mn tiagt dtmat, at maA, At to Ms

originality, hc mii unly ^jv, th.it il ha.s not leaa claim to
this quality than three-fourths of the Engli-ih soiiffs pub-
hshcd. It is not Nuyinjr much, to hc sure.

Nos. 4, .5, and 6, arc hy the composer of I%e Boumei,
noticed ubove. " .Slay, my cliarmer" has Hot ^eaoi^l
to excuse some great inacctuacies in the aeeompanimem;
" Of all the flowers" to aa CKtreaatdj distinct, pleaaiw
melody, with an approprists soooaipaaiaaiC " Wlulo
the breeze" is not a very aew ak, tiKNifh aa aniasik
ble one; bnt it sbonM ham bssn set ia lOBa «ns of th*
triple, tims; eeitaiafy not ia dapls— hi Ihs fatter, ftlaa
aoeenis «re alaiaat aaavoidsUc ss is pnmd hi the pt».
•entcaae.

Mr. Rimbault's is an animated tsong, in which we were
not a little sslouiBhcd to find the ancient, the loiux-ex-
ploded. and. pcnendly spcakinn;, the absurd Da Capo
restored: it. however, does no a;rcat mischief in the |ire»eut
instance, for the words are ai !<ilh us any that our ill fortune
ever introduced to us. Where, in the name of wonder,
do Biaaicfans pii± tlieir ihynied vitsas?

Our printer Ikas been ublif;rd to omit, for want nf
review* of llie Etudet ot M. Scbmitt, Jixtreicet pmr JML
axgmmmtmtkm, U«ti» $ Siudiei, and seveml other woikt ;
sB «f wUdi rfMU appear fat our next nnnber.

^tetgn ;0[ii0ical SUj^its

▼KNNA.

KarHthneHkor Theatrr. — Tjir biisinriu) of (bis tbc.ifre brglns
to sisumc rreater activity. La Qazsa Ladi\i ».u siven for
the dtbat of MadcnKiiselle Scbecbner. a youn^- I . iv of no roro-
mnn powers, and whose reception was very tbiiierinj. The
$cAK>ei(ser-/4niiTreMlawid, fD vUcbshe was o)iaally efTectivo
»i ia the inusie of (he ftallm idioel Heat cane the operetta
Dta GeheimHtu fthe Scrntt), between wUeh aad the MiUet «C
the Scbweitxermifehmidehen, Sifrnnr Vtararcati. the eelebratcA
virtuoso upon the manline. ddichtcd the public with i serieo
i>f raristionR cunipohi-d by bimpelr, to the Sicilian causoaetl^
Uaiulitrn ttngni vtntn. 'V\ip t fffct which he eOBtcirCS to jds^
lu liih appuii'iitly itiMi'iiil'icaii- instrument is tmly Safpriinig^
iind he met with very wurni rutuurageitieot.

// Don Giovanni « us prrformeJ, newly and effectivcl)- ca^t i«
followK: Don Giovanni. Sii^tiur Forti ; Doiuiii Elvira, Dc-
iTioisflle S< ln-idini>r ; I>niin:i Ann.i, Denioi»el!e If..i kernmnn;
ZerUna, Sigriura FraurlH tti ; D,:u Ott.-nio, >I. Scliii>tor; Lc-
porcUo, M. Preiiinffcr : .mhI ili.' t ^i:iinj<'i-i.!Lit.irr. M. Kiirst.
The whole was adniirablv given, and jii the inust ilja>te aad

ehseialiaaaMr. ,

Lm Dmmt AfaneXe is iapreparation, and the mnkicul ama-
trunareallexpectathia. Whether this aMiaic. which made uick
n fiiror in Pans, n^l peodttcs Hw anae haprestion here, it a
pr«)i1riti H'hirb a few weeks wifl iolve.

It \s no less sin^uUr than tnnh tint theatrical maaatements,
in almost cmtv directinn, arc at i veiy low ebb ; anduiinp do
not lure better with the i^real ipecataliir, Si|^or Darbaja. So
little is he pleated with the appearance of things, that lie liaB
tried, but without tuccess, to get rid of his contract. tFith aS
hi» rcitoiirces. it nimt be »een at once how frcat i* the risk he
rtino, by the fullowtu!; li»f of cn^agcmentt : five Kapellmeitters,
Messrs. W'ei^l, Gvmwetz, KreM7i r, U'drfel, «nd Krcbs; three
■■ni>.i<-(lireetiir>i, Messrs. K.iii , Hildrhr.irnl, iiml Scliindler;
three kulo-pUvrm. Mejisis. .\l.iv«'..;rr (twiiiit, Merle (violon-
eellci). ,»n<l llelinirniHvrr i h;ir|t) : .mil .< i li..riis niiiMBtmi.' I't ei!;hty
persuDK, under the directiua of Menu's. Dirzks .ind Ik-nesch.

ClOMls ihiian^ Mad. GrAaban^ Waldsriiikir. [ im—

8K.a

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THE HARMONICON.'

Dem. Schrdmrr, Pimciicll!, SrhrOd«r, Uelz, Bnndni, TTeeker'
inann. DotH, Teimr, DinkK ; mnle «in!r«n>. Meurt. Cramolini,
Srbiiitcr. Birhbcifcr, Mailer. Guttd»nk. Print, F«iFlL Pr»ili»-
fftr. Fan*. Zeltan, Meier, Riiprceht, Diraka, lUehd. HaMn.
hut ; ttiiitly. tlie tpttmlii) ballot, fur nhkh aw engafcd tluee
baUeLmMlera ; firat d.iacrr«, Kozirr, FcrcDundt Stnltnttler,
HaUiB, T>f lioai, hdur and tan, Briot, Fleiirjr; aecoDd dancer*.
IManJ. Torelli, Itanaeint. Sic. ke„ betidet a vhole hn«t of
pancamiiiiir danrern, ntrvph^es ftjruriintM. tic. $cc. It it no
wonder that, after entering into contracts, and prulMbljr in
manr in$tancfs vrrv prriii.ilurplv, with mich ovprnjivr mihjrrts,
this l^itat cuiitniitor Inr tulciit nt' evcrv kimi sliiMil l f. i l sihi;p-
what iincasv, aiii-l n isli til 111' '•iT lii^ ll«r^'ilin. IK'-lilcs .ill tliis,
thi" st^1^llll i» til lii^ lii'ljii J . ut In ;Lil(ilt|ini:il Viitirlv, .i
Fri-m !i c-iiiii[i.in_v fur (lie prrfuniiii'irL* "1 litlK' Kri'iich iiji Tiis
«nil v;ii;'!i'villcii, for whirh a pirticilar <iiilisrr!]'' : ri Ins Rlrri.Iv
been opcnml. Amnni; th** »iil)ji*i t* piitriici'ij arr (he tnllii'vitiif :
Meurt. Brice, D.irvillo, CattKl, CIrinent, Fraik'lli*, Lrmellc,
Cmot, Casimir ; Mridaiiirs llrice, Sarda, Lavaqueric. Jainio,
CMinir ; DcmUct. EMm LntnMiiierieb Adeie Mayer* aod Brice.
Perhaps aa hm before been the caae, tiw blind and eapridnn
koddeat mtj mUt «mi then new^CMMn, aad paatibljr thnwyb
tbem will Ibe wonder be wrung bt of MKnf the theatrical coffer.

ui:iu,iN.

LtTFi.Y hr\i horn piililinlrrl here, in a nont f.friii, ami At a
iiiii'iri .it>' prirr, the rr'i'hratfil Ci urifiriK n! Aritnnin Lolli. fur
ritlil .'Hill tr-ii viiii rn, ill lull -I'lirc. 'I'lii-i is oni" <>f llmur vvurks.
of M"liii-h it ifKiv bf f:iiil. thf V an* not of an airo, hut fur ;\\[
time; ' tlio ctfwt priwlai I'll liv it is iiIw.ivn nutnliTlul, vrt nlwnvs
lirvr. It will norve nn oxaniplc liotli \o llii- luii^tcr an l tin'
aclioUr uf what is really meant br coinposinf in cij^ht anil ten
putt; far aoadininibljr are th«7 itil calculated wiA rcfereDce tu
«he whole, and to petfecUy are Uicy dispotcd, thait not a tiof ie
bart perhapt. not.* aiiigta tMe^ couU he ahcicd, without
ametinf the beauty aad emitiilencr of the whole ; aa In thoae
exquiaiteljr-finuheil apecimeoR of j|^iith!c arcblteclure. in which the
currcspiindinf parta are so finely adjiutcd, diat the eye wonld im-
mediately detect any uinitsiuo. UuwcoJciun and iinprettiTc is the
mtranreortbe first voices at the Crueifixut, and huw that effect
eonlinuM to swell and deepen as the other roices tal:r up tin-
tbeme, and vary it eonliniially witlmut ever chnnffini^ its rliarac-
tor! Iliiw rcini«rkn?>lc is (he cliHnife of llio rhythm jil the jui
I'nnli'i f'iltilii. uliii lc le.cils to tlir rifHiiii, in iijiich d< op fiiiffer-
inif ii ill m rlivlti;^ !\ dpviricd in tlio svnoprtted no4e» ; ami Imw
toloinii is the dfr i t ol ihr l oii' liiJiujf radcnrc in the rt .u inilliii
eU ; the voiors wliirli have ri»eii to oxprcds iinifiiish anti sii(l< rinir,
link prailnaliy and die iiway ; it is lla- linlluw innrin-ir ot the
cla«ini( tuinb. U'crc such rn:npiisitionte« witbnut aui ~

, iMch the

•faMier to twi from thnn.with diatnitt.

Another work of the son of the famous phllusophrr Mendeh-
■ohn. hat appe.ii'i-il liore, entitled, Capricrio per it riano-jfoHe,
fomjtotta Hal h'rli.r Mtndrissohii Hartho/Jjf, OpuM 5, a title

upiiii which some of the Gerniiin critics have been merry enourh.
Certainly the comiiotla ilnl Felix, and liie «pat, is a singiilar
medley, nnd croud hono>it Gennan would have been any day pre-
fcrahle to this nionirrel tiin?ur. With respect to the compmllion
itielf. it runlains ■omo thinifB not unworthy of the fmn^ n'pu-
tatiun uf this youthful artist, but as a whole it is coiistJt'rtd as
unrqiial.

'^'h* 'ndcfatiifablc Kalkhrennorhatialiio nyain appf ,tre<i Vicfme
*be poblfc in the folliiwiiii; work, Le honvir i,c 'Irm/i,, air varii:-
parFr. Kalkhrcnner, a:»v. 1.'J.51 ! It i» xp.ikt n ol h-, rontain-
tng maay aftiM fault* a« «r'l| as Iwantii-ti of lliis pr.i:;lii- nmi

r^ft bat 'He latter are said to prcdoniin.iip. 'I'he subject
of a mr taUnr kiwi, md at least fitr tup. rior to tha hart of
comporfliont ofttlt dau which inundate the prcw.

DRKSDEN.

7'ne nio't rp riarl-.ihle f.-afuroH ,,f our musical hi Mott, since
my laitt, hav.- Ii.ni, 1-t, Hi. 1, ■</,„'/„.- 8,i,|, l|,',„irnel"t
S^^'*.: ^E*' 5 •'""cert "f Br..tliers. Uaase ; 4tlilr, £c

O wOwM a Fe ariWi airfa, by Vacci^. padaead haia hir tha lint

time; Sthly. Die aAwtiaeifimMn «tUy, J. Scbaeider't
Orean Concert ; and Tthly, a visit fnti the cdebraied linnr.
Mile. Wohlbrftck. who appeared in the opeiiM af Dtr nitm
Mehiits, non Ciovannt. Opferfttt, (Interruptai SacrfftM,) ani
Zanberjlole, in the whole uf which masterly coia|ia«iliaaa dm
obtnineil unanimous applause.

Die V eilalt n of Sp<intiai. inlntduced to m, for ^ firtt tima
in thi« opera, the Si^nora Palatsatr, who fiefliimed thecha>
meter of Jud'it, but in a manner that by no means pleated oar
miisiiral nmatours. who foiiinl many deforls in the lady't ttyle ;
hut. aliovo .-ill, roi»p!ainei| of a want of truth <jf expression.
Kie;i thr most mileaiiii-il fi-lt tliatlorive this character effect
souuthinir more \ias ri'ijiiircil than Roii»inian eolotirin?. and
the f:.!.lii<iti:i!iii' ini'tliM.i of (irrakin? pas6ai:cii of l.'. liii_- uito
picccj, itiid tinjaliinj; with a sudden jerk upon a bi^h tone, tbut:

The character* of Liciniiis and the IVigh Prirst «rrr- >np-
piirtcd, ii-itli irrrat npirit and enorirr, by Si^imr HmiiIi:;]! and
Sijiior itrniiira-sa, the laitiT of whom has a piKvcrfi:! voire
aiiiJ a foiMl kIhioI ; hut the (.inter who pleated must Has Mile.
Funk, in the character of liie Chief l'riest«»« ; »lic executed tho

lon);-<lrawa tuoet, wliich rive such deep exprrssioa to the airi
she baa to nag;' with iBely-«utaiacd edhett withuat indalfiur
in any of thota NI'tinMd maladek that are dralraottva of aU
I r I ; ir emotion. Tha idHwuaeii ao {mpattaat in thia opera, wera.
{H'rformed in a manner In tlie hlfhcst defree creditable lo thia'
department nf the fhe:«tn*, which is irenerally nr(rlccted in oar
days, as if of no importance tu the success of an uprra. Tha
orcliestra fully maiataiocd the h>g\t reputation which it enjo^e.

Hummel*t Coacert was brilliuiill) nllcnded. Of the artitC
liiiu»elf we can lay nolhinir, but what all the wnrld knows
alreailv. He Jfare his trran.l roncrrlo in A niir.ur, and the
rondo from that in li ; tlicio wi'rc folluweJ by an exietnpore
faritiisii, in nhiili v is ■iilni'liinii. with irreat offer!, thecliarin-
iiip m^'loiiv, Hrirfi inir ,lu hnml, "irin Irhrtt, — (I'ledcp ine thv
haiiil. dear hue.) mIi:i)i imJimI l.irili an oiithuRiaslic liur>t of
appiau'O. He roiiihidi'd tiic cn'iiinir with an entirely new <.'on-
ccrto in E iiKijor, the latest production of hi» pen, (he hcauty
and exprcMiou uf wliicli cannot fail tu add anutlkcr laurel to Iils
uiusical crown.

The concert of the hrothert, Haaii^— Bofii af thete are pro-
fottnn an Aa horn> attached to the Royal Ghrael, and Meir
ineritt hare kmtr been reeoentted. The yminipar lealher h alao

an excellent violin player, 'of tike scImmJ of PoUedro^ and gara
Spohr's bcaiililul concerto in D minor with (preat correetocia
aikd spirit. The brothent played a duo for two horns, by iiom-
berr, and anotlier by Liiidpaintner, with nil that frclinr and
mellow elToct of which this instrument is capable in llienanJt
uf ii master.

M'ith rfFporf to Vacrai's Ln Patlorrlli Fnulntnrin, much
as h, I- Kith M.-iit.niii iti praise in the It.ili, in journal", we are
obliged to acknow'.cilire itiat it i» a very iVi hle imitation of
llos»ini, with «ll hin Ian Its, and fcH'. or any, of his lieauties.
The plot of the pieci' in the most mea^^re that could be inia-
eincd. 'J'lic [iriiii'ipal il;ir;Hl<T Mas !iu«tnined bv Si||rnur
Rubini, u'ltii laid uii his roulades a» tlneiily as pwiiiblc, tu cover,
as far at in hia power la^, the poverty of tltc material* upon
which he had ti> exert hia lung*. But tiieo, imagine Rubini
»inghi|[ flanaaa. af «4iich it it evident ha taarnly uadmiaada
thcdeaMflla! ThehnanatianviMMi anr Biind»wat,tfaat of •
forwani fataigner fau^iy fai UtolBSfi at tha foodnatun «f
bis Ttatanie andienee.

Of Uretry't opera of 0/ae Beonl, hUdy
we have nothiuir new to olxerre, except that the
that simple aad dowin;; kiod, which, beinir true to nature*
never ap p ia i fl ant of date. It wag i^iven acconlio^' to
Fisclicr't arrangement, whidi hat a prood deal of matter extra-
neous to the piece, of which honest Grctry never once dreamed ;
forintUoccb tlie orertai^ which breadica to ttronfly of tha

■trartto IkefMtef

lor intuttccb tne orertai& wnici
Saafci^leli^ and which ncM a

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THE HARHONIGON.

tht mimic ; urm
entirely M. Berm
Witt |p««tt|ririt. >nd Mud. Otfrinrt
MrvMthy ef ereryprau** Tht
wnlflt with mat ipirit and

The piece Wi
the principal dwrirete'r
ttdtti mm! (unir in « man-
well at the wliule.
the abU kad.

FRANKFORT ON THV MAINE.

ZbaLODILT a» the art of iiiiixir i* rultlratcd In our city, we
have but little uf iln(>^<'^t tu cu<niiiunicate since uur Init rrm»rt.
'I'Ue iirilr new piece prmluMd am oar bu ben liC
ofAuber. which was verjr broaraUf nMifwL Hunuvic-
IfUMiaf riMniatUaopcni,tv*or«Udi wmTBptanMtly
nd, mfvaiainm to ■flam iacmiiinf delu^t on et cry repeii-
jiM*. With thi* tollUrr cice|Mian.our innna°;emrnt rciiiiiin< rua-
■tailttOie«mlc«inpMnioi», wUch liave li\ed nut their ephciiie-
ral lives in other places, and been tuflerrd t^i repose in neace;
ail for instance, />i> Princeuin ran Prorence by P4>8»l, Der
Bergkunigt by Liad|inintner, Drr Herggeiit liy Sphor, &c.

A mutintl work haa appeared here, which hat, excited cim-
liderable inlerent, A Collection of Songs, Ity SnraHt. with
pianii arcoiiipaniiiicnis \w tlir <-eletinited II. Scir ' v cr, i.i War-
tenfct, fiir till' l>eiielit i>f the Greek*, 'i'licsi* rcriiimsiiiiins sire
spoken Lif as Ueinir very cliaractcrislic, atid aba:iiiiliii:,' ivltli
many beaulirs. 'i'iu re ti.n aUo appeared here a new poriiHlieal
Work on r:/irli-(l, Ailgrmiine M utU'discher An-

stigtr, llie iibjei't of wliich is to give a critical view of all ibc
voito that appaar upm nufiCi whathar theontical or practical.

BHKMEN.

Thrrr iinpnrtant rlianjjcs h-ivc tnken pl.iec fiere, with re-
fereni e lo iriu.'.ii-. The hr*t is an rijt.i. lv rn w .u mnjeinent of
the np»'r;i rmii|niitv ; serundlv, tlie e>t.il)li>.iiiut'i: t uf a new
tnii-iiMl =11' ;cfv t >r private riinrerln, under iIk' ii:ri"( tiiiti of
Jle.sj.nt. Heim and Oeliernal ; tliinlly, the disMiiulion of the
Vninm Conerrte, which has so limf maintained itMlf with ho-
nour, but which was obliged tu yield to circooiitaiieM wbkh it
h moeeeaiary fur m« to recount in tfaia plaoa.
With fccpcct to the Opera, it opeaed under tha near Aicction

W Dr. O. KUadworth, «f LAbeet^ with the fullowinjr prinripal
ttiMfB : fint flopnmo. Mad. finer* ; aecorMl, Mad. Steinert
and Mile. SchoU ; tenors, Messrs. Eifcersand Steinert ; prin-
cipal bass, M. Pillvritz and M. Kluinenfeld, known for hi* lur-
pritinir falsetto, wliich be diitplay* to such advanta^ in ihe
Prima Donna, or counterfeit C'ataUni. We had no new operas,
but the selection (if piece* given waH excellent, »» will b« seen
/rom the followinif list; — the lion'.-' .ipr-.-.l '.vitli Salieri's Anir
(Titrrarr.) h w lu succccilcil Ijv (Me llnu l',,r,tiiniii, I.e\ Driir
Jr,„, a,' ^, /I Srraf(lio, Oat Unlerhrnc/imr (/![/'' if, .r, Tu r-i!i,
JJtr f 'l cisi-fiiil ^ , Ijtt CrnrreHlitla, Rosette, Ixniifrn run Itnmliit,
and the f.nii irUi- \'aLiilevilie, Sirlirn ildilcken in Vniform,
\L€t I'ag" ^'i"^ rittilome.) In all thcte operiw the
•iogcra distinfuisbed themaelres in ■ manaar voctllff « Ihe pa-
tronan beatowed npoD Iben ; the ehoniMa *«• awttiTa and
veUBBHffcds awl tha aKheatrB fall, awl adadraldy

P.\IIIS. •

Aeadcmir Rnualt <lti Mimi)ue. — Thb novelty here has been the
•ppearnnee of Mile. Mori in Ihe Fimuto Uapeo, and in the prin-
cipal character in the FintalW of Spootiiu. This ainger, who
tanauij HHcd only neand-nita ahamelera on your atoga^ bat
n to caaipafBliTe a mi ae M e e te her profeaaion ; and
jHmM wHh the diraelora of the Oahrm Mien,
laifar l» (Ma Ihealref where abe it risinir rapUly into bvour.
ler voice iapwrari ii ls. aad her action fall «^ character and ex.
preasioD. W9 1 IBM laliilalii the adminiitration of the Acadimii
de Mutiome upoa Oie acqniaitien tliey hare made in this pro-
miainir tlnffer ; ami feel aiMucd that the reception which the
has experienced will encrxiraee her to make fre^h exertinns to
deserve the patruiiaije ihiiii iiKcrally be»tiiweJ. Tunc will per-
fect ber ia tJiat tact wiiich etir itaipe retire*, and practiee will

lenwif eotain fanlta of promDnciatloii which wt moilkti. Bat
what we would partknlany preta upon ber coaaideratian. h act
to allow any motirca to pre.vail u|><in her to chansre that pure
method of aoof wUch we received from her fin>t masten in
Itaijr ; let no altempta at producine etTcct expose her to the
lew as the purer parti of her voice, by htr^iiiiiiifr it l>ey«nd ita
campMa. Be it burne in mind that tlic urlo Fraumr the
French howl) has no adniirer.'i left, but those of the (i.,tl n i l i s,
and that the pit iifiuir Ibcafre* i» every day )iiir!finp ii-i-it I ruin the
iiM leaven uf b.i(i t.x.ste. McliidiouN i-otic im"' ilcinaihi'/il e> eil
in trairii' oilHatimis ; the <>!d-f«sliiiinrd nieiopria is now regarded
»i little better than a w^'m-tnit rarii atiire : if the more vi^oruut
and expre«.!>ivc itrores of a I'ieeini, a (iliick. ami a Sacchini, ex«
|>el!eil ilir |i-arned lumber of a MiHlnnrille, a Rameau, and a Lulli,
it !!> hut just that they should, in their turn, yield the place which
ther hare held for now nearly half a century. Let every nnnr
feel convinced that the nuaical revolntion la effected ; the cnea
and bowlinn of thtaoeiaila will set «ia.iiow. The yoonger
Nonnit. Mad. Dahaffe, aad If Ue. Grauari, appear to be per^
suaded of the raloa of tbla dpaufVi and would the administra*
tion but adopt .the arita neaauie af Tecallintr the clas>iral ho-
rastcur, Ibit theatre mould possca* an assembtag-e of talent not
to be elaawliere aurpaiicd. We hare also had Cluck's Alcette,
for Ihe le-appearaaca tt Madame Noel, wboiu ill beailh had
lonf kept Iron the priMie. She gave thia chaneler with all hcff
wonted eneryy.

Thi-ilrr Kiii/ d, Itnlifn. — Gcnerali'l Adeiimi wn^ produced
here for the ilrloii of .Madenioiselle rantarclii, who suktaini'il the
prini ij.Hl . i.ir^n li'r. If she has any talent, it is what imluljrcnt
critics rail r/,,. but what others area;! to name iroj-n out.
SlUc. ('. i'i ii • l<iiii'er younc^. The criiicii think this o)<eni,
though but in one act, by far ii>o lou^. Tiie music of liencrali
is not unworthr of the attention of connoi-tcura. at forming the
connectini; linli between the achoola of raitielle and CimarMa,
abd that of RoaiiBii it ia ffequently britUant, a* in the welU
known duo. CktMttUaiil mUUar, but never Tcirpnifoaod.
The Creeiafe haa been leeumed here, and piven with redoubled
effect ; Madame Pacta ia delif^htinf us in tlie character uf
Armando, before her departare fur Naples, which it ahortl/ to
take place.

'rkiiire Royal, Odton. — Considerable tenaatiun hat
created here by the appearance of a new opera in three
entillfil hanhor, founded on Sir W. Scotl's novel of lhal name,
the Miiibti- arranged from the conipnsiliuns of Itoulni. by SI.
Pnnni. tireac names like these, hiiuilar to tlic enchanted arinuur
of the paladins of old, fail not to iruar.Tntee ^ucce-d, an wjin the
ea»c with the present jinliiri'i. It ».\s inlroduced by the cele-
brated overture to Sfi,iirami<lr. la p. lniirable syniplionv which
never ceases to attract. 'J'hc curtain risci, and wc are greeted
with the storm frurn La Cenerenteta. atid the delightful air
which follows, eapreasive of tlie leturn uf calmncta and teienitj.
Iteaidci S4:ver«l of Hw well-lnwim pieoca af Raaiinra iitPuariM
operas, five piecaa went inlndaeedamMNt new ton nuitiaa audi*
ence, ria^ twa ftwn Jlicitea e Fofiera. two fnan AmdJat and
one from Sigitmutdo. It ir lihel* to become a great faruurites
and wai admirably performed, both m far ai the •iagcn and the
urcheitra were concerned.

Thfitre Optra Comigue. — To attempt to occupy the scene
to advantage, after La ifante Blanekr, ndght hare appeared an
act of temerity ; to obiain dev^iiled s-icccss therefore, cannot but
be an en\ied diHtinrtiuii, and huch an hononr Iihk fallen to
the lot of M. flaroM, in ln« new opera in three .-u l*, entitled
filarie. The subject is t'uil of interei,!, and strong in situations
of a nature cah uhiteil to caII the •renins of a composer into full
play. The chamclen* wrTe c.is! a» follous: Le llnr- n,
nuel ; Adotphe, Lafrniliade ; Henri, C'liollct ; Grorfrm, OuiauU ;
Lubin, Fcr^d ; La Itaronnr, Paul ; Rmilie, Mad. Ki^nut ;
Marir, Mad. Pr^rott. and Sutrttr, Mile. Boulangfer. We
will point out eaata ef the niecea that produced the inmrteak
effect. An orectan ef conialeTable life and apirit, it fdhnrei
br an inlradnelia^ AiH uf ahamcMr and pleasini: paatagea.
We fed aamitd, ttat after one or two more anccettfid
trials of the kind, the public will not reliih any opera but
what bcfpns at this duet, in the Italian style, with its overture
and inltuduetioa s it k • happy ooMa of jrood taaie which we bail

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THE HARMONICON.

toMe npnMfaa, ire Moired by an air of remarkably ttrikini^
ttt Ll, wkich bf • ifcilful tmnfition paiaea into a trio, in a itylo
•f eoopoiltiimi new to thk theatre. It van admirably min^ by
MadaoM Rlgtnt. The lecond ac-t opena with a charinirie' ^uet,
which wa« ifiren with spirit by the "amr lady and M. Chtillet,
a yoanp tine^r of errent proniinr. 1%f finale of tliis ntX it full
of powrr : tlir ultuation ii ptmnp, and the corapotier ha* corre-
tpondrU 1>> ihi' r.in-e (if li N !.ii'>|fd with a vi^imr and expreiaiun tor
Whifh »c did not liffiTc civc liii-i cri-iiit, 'J'lic lliirtl act, nmnnij
Other piecei of an plcviKni . irliT, Ilis .t ilui-t of t;ri ;it ■spirit iind
erig^inaiity. Nor tnint we tur^i^t tun litlil arni i^r.^crUil aim,
♦he one a ton'j; to thi! lic-lac of tlii' rriil!, ■\<:i] a nui.lfuii uf n still

eyer charafter, g^iven with aduirablc sweetness nnd nalret^
Maduie Bouhin^er.

RoMfaid't Zelmitn baa been tocceMfnlly performed here.
' " ~ "' rwlnllMtof

Mtd. CUahid li at Tofhi, where dw tM

Hlki. Hanhy fave lately at Msjrnwe a eoaeert
«r Oe peer «r that rity. M. de Mettemidi and wmAf •■ «M
treat perwnacres nf the Cottgrees of Jtihannitberf wire preicnt.
IfUe. Soota^ faan been alio at Frankfort, wImm ibe performed
the character of the Printfu of Navarrn in Jmh rfe Parh,
Mad thnt o{ Ttanna Anna in (ton iSioranni. She divided with
the nmnn|[|^er the receipts, which amounted every lime the aan)^
•o 1600 florins.

M, Boicldieu )« at ihii moment en|fa^eil in tPtting to ninsic a
new drama of M. Bouilly, entitled l,ts lienx A'mVi, This »eorc
will draw many tran from our tflebrated conip^wer, whose ryes
me red lilre :)4y.

The four brothrre Hermann are at Baulo^e, where they
Im fivn • WMoanful eoneert.

nnria of the theatre San Carlo*, at Kaplea ; ha*
antHM iMter or ki« band. M. Frandicn Mireek,
Ml Ae Snk of faNt Aufwi, leavini; a prodifkNia
' of ereditort to rafnt ttair ceolhlraM.
line. Sonta^ baa at length renahad Berfln aad ii,' oppMiod
at thr theatre, in // Rarbirr*. Immeme applanae wai beetowod
oti I M sinj^er at her firat appearance, but mixed with hisaea.
Thes4? marks of dinapprolnttion ranie chiefly frooi the Aofaon.
The dilettanti nf Berlin do not forg-ivc her fur goill|riaPtoil.
Th» Pnadana hove no affMtion far the Ffonah

ItkinMr Lams Ttkuna.

f)« Monday, the Otii nf Ortnfitv, a musical anerpiece, under the
title of The fl'hitr Lmly, it Thf Spirit of Arrnrl, tlkC lUUaic
Chiefly by BoiF.i.mr.r, w.n }iniiii;)il .»iit ,it this theatre,

Thia I* said ti) bir a Ii aiislatiun by iMr. Uea/ley, from i\vi
popular Fren I li Jrarna hs M. Scribe ; but the fuUow-riir imtliiie
of the Englikli piece, compared with the anairii* of the Freuch
■taiy, riveu in uur FtM-ty-fint Nutobai^ will thnr bnr Ktth
ttaanblance exiit* between the two.

JvMum^ JbMatlt\f itwamf^ (as he believes) Ma nephew
JWaml QMae,aaiD of J^flffer <,f Aventi, claima the OMtla aad
wntaalaft bjrUi brother. Pram the HaU of Statoaa that of
the Wh^ Ladjf hat £*appeared. and the prvpliecr la, that it
WQl retara to iu pedestal only when the right heir has been
Aiaeotrercd. The claim of Julian being disputed, the Prittee
Abbot of Avenel (as he is called ; orders that he abUl not be in-
stalled in hit possessions until the lapse ofa eertain number of
years. Rolanil Gi i/nir lun) |j,.,.„ (hrowu, by auaKaiain, in the
pav nf JnHau, int >a rivrr itriil saved by a Newfoundland dog,
and, aft; r a Imi- ,ih;ciiie from the country, returns, and by the
gre.itr-t irno.l lui k iniiiirinablH, save* the daurhter of Julian
from tJie bands of ruUiani. lie baa previousljr ihmI a dreaan, in

«l|iEh hi WM adtlMd to nfair to Anmi, mA tooonnlt'lba

/F%fl« Liuly who iires in the ftmbHw. «D tba laArfeet of hh
anceitry. He inrolces her, and aha o p pa ari to hhn, birt he ob-
taini no s.iti»factory inConnatioa, and enters the eaatle ef Aveml
as a wenry trafeller aslcing hospltalily, whiuh is granted Mm
by Jtilian, who oceapin it. He ia provided with a bed in the
haunted chamber of the fFhite Lmdt), and thitlier be ii followed
at midnijfht by Mary, Jnlian'i dauphter. whnni he had formerijT
rcBcueil, and whn, as. is very natural, and, indeed, <iiiiti' nf courae
in a drama, has failcii desperately in love « itli Uirii, ami cnnfe&srs
it at this interview, diiruig which they arc cm uKrai^rd fiv tlie
vnice (if the It'hilf Lnily, unii Iter \lsible appearance in the
window by means nf a transiparency. .^ii/iin baring his nephew,
the riirhtiul heir, afrain in Ids power, employs an assassin
named Chrittir, to itab him, and he would have arconiplislted
hit L ■ " - - - ■ ...

but
the<

lea cnrisrir, to itaD mm, ana ne wouio nave arconipiisnea
purpose, notwithstanding the presence of the fFhite Ladj/,
ftr tht tinilj Hfiinl of wnlois iPiitieMt, wko amiti
TllhdA UB. Ib fho wuwUk, tba Miiv iAM hw ofc-

Uined firoai I'Mar MMh «M «f Oe I
andproofdiBt JtofawT OMMcktbetrmlordef (beCMtfeflC
Avenal, and tliat he was not OiatltbiMla. aa had baen alhfel
bjr Ma nncle. He, followed by aa anted train from the oaanar*
stery, reaches the castle last at the moment when hi» prenenre
was most essential, ana there proclaims the ri^ht of JiolantL
Julian disputes it on (he ^ound that the statue of the ffhite
Lady liad nut resumed her pl.ice on the pedestal, but the
moment Rnlnnil Grtrme enters the hall, solemn music is heard,
the statue s!(jwlv rises np from the pedestal, orer which hovers
the iirni. , till- ff'hitr Lady, who, waving- a blessinr, ascends
ari l i';';ulii;i!:y .iis.Tppears. All the vaisal* then aclcnovladg*
tlir l(in[,'-lnst Knn nf Lard If'allrr Hi their riijhtful lord.

'i'be siiiK-riurit y nf Ibc French over the Eni^linh story, ais a
drama, will be readily admitted : the one is t>atislicd with natural
events ; the other, for the sake of a little scenic effect, bat ro>
eour«e to cnpeniatural ageuGy, though it has no rwht to claiat
this privilegaof the raasaais, aad e e mfe s i se its iaiiif s a t weak*
ness by thMadtoarinytiialf tftthataataaof theTBliar. Flar
ao little IsbemNrod fna Sir W^. Scott's novel, tliat he cannot
be tatoitad to aa naaaelioa in the present case. But the goud-
neit of tlie selected music, and the actinx of hlias Kelly and
Hariey, seenred full succeu to the piece, which cadtinues to run.
Marrelloiia to tell, the celebrated finale, the auctioD-scene, whisJi
ha^ imn)iirt.'ili/(.'il i(»i<'ldieu, and produces such an extraotdi*
nary edSict, not oiiijr jn Paris, but in GemHi^t it aarittodl

CoV£}(T-GAai>£.N Tii£ATR£.

Ok the 4* of hat Baath was wnved at this theatre. 7%a
Cattie of Sonvnta, a comic opera in two aata, fiam lha
Preach, brought out nearly thirty years ago at the llayaiarha>«
with tome touches in the second art by G. Cousan, jonr., and
set to music by Attwoob. It was now very insdequately cast,
and some of the best of the music, nri^inally in the first act,
cut nut, !,n .15 tn li.Mw little more tbati the ili:i!oiriie, wbirh beinj
rather rnitti>/iint, made but a sorry fiifiire uhen deprived nf so
much of it* cnllene^iie's company, and by nn nicnn* prnpitiatcd
the audience. Ucjides which, some exrellent rnnrcrti il |i>res
in the neennd art, that had found favour iu tli'j : i wn.: : r » /-art
and were sulfered to remain, were very barbarously treated by
most of those who joined, or essayed to jom, in tliem, aad len-
dered so ineffective as aoiounta to a cha^ of nagieet or atia*

tinae times, and <
apyaand fur the first time est the stafe, Mita-i

to a young bidy who filled a part an agrsaaMy ia il

last season, anda pwpil of Mr-O. SaMut. She p ssaeia aa ■aw
power than her sister, or at laaM bad wtmie aasigned to Imt that
enabled her to diiplav more slreng^i ; partfcalaily % maaterlf
new sonr. hj Altweod, n^rich. in spite «f the ili-hnaaoaraf the
public, twtaiaed each night an encore tiiat was too prompt aoA
unanunona to be ebtaiaed by a fineiae sometimes nMorted to ha
theatres, in her acting, too, she shewed more presence of mini
and ease than is usually witnessed in the lirst attempt of so
TMiaf a faotato pctfocBieri and on the whole her deb&t «a»
unrovaliti.

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THE

HARMONICON.

No. XLVm., Dbceubbr, 18S6.

MEMOIR OF NICOLO PICCINI.

( Trantlated from the Work e/the ntebnUii 9f. Gitufuml^

XtCOLO PicciNi was born in 1728, at Bari, (lie capital of
the small province of the same luune, in the kin^rdom of
Naples. His father, who was a musician, intended his son
for the church, and in order that his ecclesiastical studies
might not be interrupted* pnipoaely avoided teaching
bira mniie. Bat it ft eq uMw y nappcns that ptecantions
like tiMW defcat tbair turn piupoM; and it proved so in
iha pnmt iaitanoa. Guided Dy his iosliiielivs lors of
the art, the young Piccini never saw an inatrunent, and
aboVe all a har]>sichord, without feeling his heart beat with
emotion. I Ir would steal away from the family whenever
un o|)iii>rtuiiiU oH'crcd, and play over the airs of the difTcrpnt
operas he hud heard, and which he retained witli wonderful
occurricy. Acronipanyins^ his father one day to the hoiiic of
-the bi^hop III li;ir!, and heinsi left alone in a room where
there vva.<i un instrument, he amused himself by playiug over
several airs. The bishop, over-hearing; him in an adjoining
apartment, surprised the young incognito musician, ap-

S lauded his skill, and made him repent Be\°eml of the pieces,
inpriscd at tlie facility and precision with which Im gave
not ooIt the air, but also the accompaniment, he psmitcd
upon tlM.firther to plass his ■on in the Conacnatoij of
Ante Qiio^Ho,st dis hsad of tvtaidi, at that Ume, wasths
celebrated Leo.

He entered this oiablishment in 1742, and was at first
placed under the care of a master of subordinate talents,
who-sc lessons, dictated as they were by a cold routine,
the young and ardent nuibiL'iuii could not lonq: suppurt
with patience. In a moment of anpjcr and disappoint-
ment, he boldly stated to his master the objections he hod
to his method of teaching, which drew down upon him the
indignation of the mortified pedant, in a manner that was
not expressed by words alone. Sboclced at such an act
of injuhlice, he determined to withdraw himself altogether
irom Ilia oontroul, and to study alone, following the bent of
Us genius. Quided by this only, and without the bdp of '
fulcs. In srt alwHit wHwpwrfiig a Tsilrty ^^f piHtliiifi '^TrtWitMi,
•ad ops ta ri ia ; and tk* spirit of iadepsndenoa fai wliidi
dda ms dona aaciled at vaet tlw envy and admiration of
Us fellow-students. At last, he ventured so far as to com-
pose an entire nio-ss. One of the masters of the Con'-erva-
tory saw it, was stnick by the irenius disjilayed in several
of its parts, and riuised it to be rehearsed. The result
was. that he thought it his duly to actpiuint Leo « ith the
circumstniice.

The master sent for young Piccinj, who obeyed the
summons wttii far and toemUinff. ** 80| yoa lunra bsni
VoimIV. ^

composini; a ninss." said Leo, in a cold and almost severe
tone. '« Yes, Siiruor .Maestro," was the reply. " Show me
your score." — " Sifrnor." — " Show me your score, I say."
Pii Lli.i tliouLjiit liiiiisell undone ; but obedience was ths
only alternative; he therefore fetched his score. Leo
turned over the leaves, flaaeed at ths di^rent sub*
jocts, smiled, and rang the fadl for • general rdiesrsal.
Tlie young composer, more dead than aU«e, entreated that
he nigbt be spared what he considered an outrage to his
feelings ; but he entreated in vain. The instruments and
siiiiT.Ts oln yi'il the simmions; the parts were distributed,
and noliiin;; remained hut for Leo to beat the lime. At
this moment he turned gravely to Piieini, iuul preseiiteil
him with the ixi/vii, or roll of paper used tor that puqiose.
Tliis was a new subject ot contusion to the ai^^itated M>\ice,
who would have given the world at thi.s moment had he
never scribbled u note of nutsic. At lost, sunununiiig all
his energy, with a trembling hand he beat the first bars ;
but, kindling as he advanced, he became so wrapt in his
subject, as no longer to rcgaid cither Leo, or the a.ssemb]y,
which was veiy numerous. Tht whole orchestra eau^^t
Us aidoor, mo tba nieee was executed with a spirit and
precision that astonishsd cmry one present, sod drew
forth a spontaneous burst of admiration. Leo alone re-
mained silent ; " Well," said he, afler a patise, " I pardon
you till'- lirst transgression, li it ifi ver you fall into a second,
I sluiU i.liusti:-e you in a manner that will make you re-
member it as long as you live. What! after havinir re-
ceived fruiii nature so rare u ^ift, will nothing c ontent you
but to abuse i; ': In-leiul ot studvin^ the |)rii)ciple.s of the
art, had you rather give way to the wild sullies of the ima-
gination ? and when, by the mere force of ideas without
nile or order, you have succeeded in forming what you call
Tour score, have you the presumption to think that you
have produced a master-piece ?" Piqued at tlte stferi^
of this reproof the yovthnd artist pleaded as an eicnse his
having Men dianisled with slady thraugh the igaotanen
and Ittrshneis ofUs fimer ntaslsr. OnBsaring this, Leo
became soSoied, embraced Um eordialty, and oniered Uoi
every morning to come and reenve lessons under hh e»-
[verienced eye.

Tliis trreat man died suddenly, some months afler ; but
happily for his ilhistrious pupil, his plaec was filled by the
celebrated Durante, the fouiuier of one of the most memo-
rable schools of Italy, l^ccini was .-non (li:-tiiii;iiisheii from

bis companions bv the particular notice aitd atl'ectiouate
ngud of tlds eniMBt conipoicr, who took a mora dm

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88d

THE HARMONICON.

common pleasure in initi;t;inc: him into the secrets of his
art. " The others,'' he wciuJd say, " are tny scholars ; but
his is my sun.' '

At lentflli, alter a novitiate of ten years, Picciiii quitted
Ihe Conservaton', in 1754, replete with all the stores of
musical knowledge, and fiUed with thst enthtuiuai and
warmth of imagmadon, irhidi he Uuiffed Ar an apfiortii-
uHjof brinfiiif into adim.

NIcolo Linmdilo was at Ihw period (he oalv compowr
friw tajmuitmj rcputetion in opens ofthe buflli kind.
Heiabnt llllteknoirn beyond hkt own country, on account
of the Neapolitan dialed, in which he chose to com|>ose
all his operas : Imt in these the critics allow hini to iM>ssess
Bii iiiiiniliil)!e orip-inulily. It «:is :il tlio recniniiicnilritiini
of (lit! Prince Viiiliniillc, tluit I'iccini was .•ip|)ointeil Id tlie
situaticiii iif (hrcctor to the Ti/itru rli.' Finrf/iliiii. vrhcre
XiOg-roscino had lonp rciiriipd with inidispnled sway. The
first opera he conijxised was cutiiled Lc Donne dixjIfUatt; ;
but so strong on its lirxt pHxliiction wa.s the cahal raised
against it by the partisans of the fovourite composer, that
it required all the influence and firmness of the priace hi*
yatran, lo ensure it a patient hearing. When tlw heat of
pai^'^pirft waa allayed, ita merits were duly teeognised ;
and eo ftr waa Pieani encouraged by this flrrt aaecesit,
that the year following he composed a second opera, Le
Grlnnr, which was shortly after followed by a thirtl, //
r.vr; : d,! prupn'r. dnvii". The success of the latter was
mort' liattiTinij ihuii that of either of the former; it
continued to niaiiidiin its place ii])on the stape diirinfj
four successive seasons, and witli iiicreasins; upjilause, a
Circumst.-iiico u'A then alnsost unparalleled in Italy.

His genius now daily assumed fresh vigour, and he soon
aspired to the serious style, of which he gave an admirable
specimen in his Zenobia, which he eonpMed, in 1756, for
the great theatre of San Carlo*. U obtained the moat
dcdaed sneecss, wfaieh has nefer bean dnainiahed byaob-
■oouaitTevhrda.

HiariaiDg reputation soon reached Rome, at that lime
fhe'grand scene of every young Neapolitan Maestro's am-
bition. He received an invitation to visit this dty in 1758,
and contposerl for his first debfit before a Roman audience
Alexmndro iiflf India. In this opera, besides several
airu, which are by no nu-aus uiiwurtliv of the greutesl
masters, we find :iu overture ^ujierior to e\ery thing of the
kind tliat had been before heard, and which continued for
a long time after to be u &voii(ite ui the oonoeita in Ildy,
OS well public as private.

It was in 1760, that he produced his master-piece
Xa CSmcAhuz, or Im buam JSgUuota, which excited at
Bonw • defiee of enthnslaam that ma carried even to
aKta?Bfaiiee. Theve had hentoAK been no esanqtle of
.» laecsse so braUant, ao merited, and bo universally sus-
ttfned. Tbaittm* not a theatre throughout It4i1y where
Tia Ceediina was not called for, and wherever it appeared
it excited tin- wirm de/jTce of enthubia.sm. No ether imisic
was endured at Rouie but this; it was suuc; .'ind ]daveil
by all classes of people. It was pirliirnipd at tlie snialiest
houiics, even at the T.alro dei Burattini, where the best
company flocked in crowds to witness its representation.
Nothing was heard, nothing talked of but La Cecchina.
All the fashions of the day bore its name; if a common
shop or taveni wished for success, it adopted the favourite
name, and there is a kind of wine stui Ininni bj that
appdiatlen. Ihe noUe fatnilj of Lmri, haffaig to build
« villa near Roum^ gave it Vk naow of Xa Cteehina.
Fnr several yean after, the fire- works eiUUted on the
fiatlnl of Si. PUcr wen composed df accnea fion La

Ctcchina, the inusie of ',vlii.r}i, and above all, the overture
were heard in every ilirectinn. In a word, the success
(jf this piece roacheil as far as China itself, where, if credit
may be given In those who assert it, the emperor caused
the music to be executed in his presence*.

The poem, which is by Goldoni, and had been set
to msic by Duni, but without success, cost Piccini the
labour of a few days only. Having shot Wmsdf tip witii
two copyists, he kept them so fiilly employed, that ti ttlil*
oHire than a fortnight tba aeon waa eowyiatedi Hm ptew
fimdsbed, studied, .and the trfadle rdie ar sed nd per*
formed. It would far exceed our limits to particularise
the varinnspartsofdiis opera which have always delighted
the musical critic; but the two finales lay rlaini to jjarti-
cular attention, as l)cing in a great measure tlie first crea-
tions of this kilul. L'i|^rri)scinn had been Ihe earliest to break
through the formality of the duet, the trio, or the quartett,
which usually termiunted the act, aikd substitute in its
place a more regular concerted piece, consisting of a
variety of motivos, or of diversified returns of the same
It fmnainied for Piedun to periect what thia
had Mdy b^gnk Haj gave diis oonocned pieoa
more tmp otl M iee . won Amnane eihet; he adapted il»
charactv to 4e general bearing iif Ae teimtnalhig t wie n e^
working the whole into acGnax, by changes of movement
analogous to the passions or ritmtions of the piece ; thns
all(nung the finale to move] with leas unilbrmity and re-
straint, ;ni<l giving it a development and extent to which it
was Itelnre a stranger.

The liuonn Fi^liii'davnii^ nt the height of its po[)ularity
nt Rome, when the celebratcd.Iomelli pasted through that
city on his ivuy from Stuttgardto Naples, his native place.
Nothing met his ear in every street but La Ceediina md ita
author. When Jomelli had passed this same way some
years before, Picdnl waa only a pupil in the "
When, thenfon^ tho bmm of Pioctai and his i
mentioned to Un, ha aaid in a (nw of aentoa
quaidke rogano^ « ouoMe ragaziaia," (It
some boy, and saae boyish production.) He went to the
theatre in the evening, and heard the whole piece fi"om
beginning to end without making a mngle observation.
On his way home, he was snrrnunded by a crowd of
young amateurs and in(piiring friends, anxious to hear
his opinion of the piece. "Well," .'.:iid lu', ^loppin^ at last,
and witJi great emphasis, " hear the o]»iiuon of Jomelli;
the author of the piece is a tndy inventive genius." In
the mouth of so learned a composer, and who at the i
time was himself so great on hm
spoke ToluBus for our antiior.

llieyearMlowiHglweMrinadnBOllmlriniphatVmM
in his OManiarib. Tkt ASeimna, « See, and tlie doet,
iVc' ^VimiMofyiilef, wene regarded dMB, neat preset, as
master-pieces of the art of song, lliefle cdobtated words
of Metostasio had liecn often and MiieeessfUly set before,
particularly by Pergolesi, Galuppi, and Jomelli ; to stand
forward as the rivol of such great names w a.s a bold effort,
but he came fi>rth deciderlly viet<iri(ni!. fnitii tlie eontest.

It wa.s in this duel that he fir^t utleniptcd a new and
happy musical formula, which has since been generally
followed. Before this, all tlie serious Italian duos opened
with a slow movement, iiiatliytlia voices singly, and aher^
wards togethevi eamb ill the other aits of th*
same pelted, • riHit •eeend.part.wnaily vaitod If 1
boldacaa of ttodidaHoii, mA iaru

* From ibti opeia we liavr
apjicac* in the pnicat Nombcir

the Ikveariie

wh^

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WD HAMiONICON.

the first, after whicli the motivo. or at !ca«it the Iatt*T
half of it, was repeated note tor note. Acconiiiiif to the
new model given by Picciui, after the f«low niovcinriit
the two persons were ni!ide to deselupe iheir fceliinfs,
whether of a ti udiT. juy>iiis, or inclanLliii!) [Uitiire, during
• rtaaoMble sipace, till the pa^t^iou was supposed to have
reached its dtmax, when middenly the expression became
man lapid ndinywioacd ; the movement once accele-
Mtod, lWWf WlllllwJ to to ordinal degree of sIownesK, but,
«D HwcoBlaiT, WIS ttm BimlMimd tomids the doM.
Thb i>i tba d b rMtwiitlff wmA of OspMrfoaib and in
ttiitiM|ifoifai( Ui artt

80 high had the reputation of Ptccini now risen, that

tttij had no master to Mt in competition with him. Every
city nnd theatre disputed the hoiiuur u!' liis jiresenco; and
in such retpiest was his talvut, aiul so proinjitly did it
eorrcspond to the call, thul, in 1760, he coinpo^ed vi\
operas, three .nerioiiH and three bulfu, thus suppling the
intotc of Italy, and levying iarffe contributions of renown
from Turin to Venice, and from Bologna to Xaples.
Other masters had their degrees of success, but he
•lone excited that enthuaiama which bore down nil oppo-
■ition. For aenriy Mmb jcan did this continue,
• dval mvug np is (ke pan

person of Anftnsi. The

I tw i wcAito fenegidlalm oflMi oonposer, which Mf/ptmd
!■ Rome in 1778. had the most brilliant wcceee, nnd
rtunped Urn at once as a pop«dar componer. Th* critics

found hw melodies pure, Howinp and e'tpresnive, an<! bin
harmonies, thongh elaborate, clear and eflective. His
style of iiccompnmment equally plea-sed, and was pro-
nounced to 1)0 in the l>est taste, while the most enlhusia.stie
•Dcomiunis were lavished on the i\»o finale;), which dis-
played a variety of happily contrasted movements and
orchestral efTecti of the most imposing kind. Aufotisi
aooa became the idol of thai Roouum, whaoe long and
Mtnonlinary ooMtMOf !• AM CDBSpoMr appeared, as it
naturally pmMued Ibr « tHamgt. Jfieaai wa* a
n of Beat liboaiitv ofmind, andbdMldllMMeMaBof
ifnAwilfeMt JaabMf. Hk cgam tMkm tti t» U

AnibMi ; but ue (Kcads of the latter were not ooBt«tod
with this tHrfdcd empire, and wished to exalt their idol

upon the ruins of Piccini's fame. They had, therefore,
recourse to intrigue; they caused a new opera of the latter
to ^K• his'ied aii<l withdrawn from the stape, and one of his
rival's to he substituted in its place. This indignity wa.s
ton much for the sensitive mind of Picciui ; shoekeil at
the ingratitude of those to whose innocent pleasures he
bad so lung and so sucoessfiiUy administered, he withdrew
yncipitalely to Naples, where he fell ill on his arriTal.
Bis malady was long and severe ; bat at langth Im

and havioK atada •
■gida to CMipoaa a mala Mtoftr flw
4mtod fcinNir irilb lANililid adm
Vm flnt IMt «r Mi dctaradMliim wm Ifea dO^Ma

opera bulln, / Fiaggiatori. Such was the enthusio-sm ex-
cited by this piece, that during three whole seo-sons the
Neapolitans would listen In mi other music. Nothing
could exceed the esteem in which Picciui wus now univer-
sally hotil ; the first fa/nilifs of Naples nud it* neighbour-
hood iLsputed the honour of enlertoiniiig him ut their
vUU^aturr (country-htmsca.) Whenever a stranger of
£stinction aniTed at Naples, one of the first things was to
visit Plodni* tocijoy the plensure of seeing him, and of
; hb aiMvcMiioii. wUcb waa ia Um bigjbMt dc(iM

It was at this periml th il overturt '^ tmtc 'made to visit
the French rapital ; v^liith, as tlu v came Iroin no levs a
person than the Marchesc di < 'ararciolo. ambassador fiom
the court of Naples, were at nnce ncceded to. .\ccordingly,
Piccini quitted Italy, whii li he h^sd oriuinientod for above
twenty years with his name and his works. M. Ginguen^,
who saw a chronological list of this composer's compo-
sitions in his own hand^writing, tcUs us, he reckonea a
hundred aad thifQp-tmr operas, serious and butfa, written
within that tpaetoftinw} without taking into the

Piedni arrivvtf allMi towaRb (ha doaa of th«TMr

1776, accompanied by his wife, his eldest son, (ben amnit
IS, and a young English lady, his pupil. He had no
sooner establisheil liiiiiselC, than he coianienocd his !»•
hours, for he luuud that he had much to occupy him.
Firbt, he hud a dilBculty of li" i ■ innion kind to vanquish;
this was to acquire a kno%vledge of the language of that
country, which was to be the scene of his gluricK, for he
did uot know a word of French. Mannoutel undertook
to be his instructor, and he had a particular interest in the
proficiency oT bia distinguished pupil, for he had engaged
to remodel aii of Qviaault'a operas to be set by him.

In Older to eoovar a jut idea of (komohitioaeActed
by Flcebd la WtuaA norie, it would ba aaoaaaaiy to
sketch a pictura of the barbsrous psalmody wUeh at (ha
period in question was dignified by this name, ae welt as of
the worthless aiifl chiui'-y machine misnamed the French
opera ; hnl our liuiils will allow us to attend oaly to the
subject of the memoir.

We huve traced, in another place, the history of the
mighty riwd with whom I'iccini wus do. lined to contend
in the French capital.* At the lime of his arrival in
Paris, Gluck was at Vienna.

Afiier devoting the best part of a year to his studies, the
first open apoa which he began was Rattmd. Scarcely
had be commenced his task, when the partisans of Gluck,
and, if report speaks true, Gluck himself, published a
dcdbHatioaof wariaalellocwbidianpeanidin thmAn»i»
LOUftdn. IhoHlitanaiaarAalMiSlNgMkaadllibwa*
comideredbjbotb paitiea aa the ijgnal to take v^anaa.
But when the day or repreaentation arrired, Paris was in
so ^frcat a ferment, and the ])urtisan.s of his mighty rival
l)rcHented so fonnidable an a.spect, that Picciui gave up all
for lost. Such alarming and exaggerated reports had been
industriously circulated, that when he prepared in the
evening to go to the theatre, his family refused to ac-
company him, and employe*! every clfbrt to detain him.
His wile and &mily were seen bathed in tears, and every
effort on the part of bis friends to quiet their solicitude,
was fruitlcaa. He alone remained calm amidst Uiis gen^'
nl alanii tad| (w^toy to his wife and her atteudaota, ha
aald to than ta KaBaa: <* For heaven's sake, recoiled that
we ai« not in the midst «f bwharians, hot of (ha moit
polished people upon earth. IP fheyannotaaliilledwlthi
me as a musician, at least they will respect me as a man
and u stranger. Talie courage ; my mind is aU tfanquillihr,
\'>i\\ cawa to boothendaib whathor I wtam mMiiumi

or not."

Tlie Slice cs which attended this piece was complete.
The artist wa^ borne home in triumph; and in spite of the
clamours of a few men, who were blinded by party-snirit,
the beauties vtBoUmd were ektolle^ to the skies, and ap-
predatedi

I, vol. L p. lOS.
SL 1

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S34

THE HARMONIOOK.

In the meantime, Picciiii liail hevu douUj nctiTe. While
composing hit Roland, be had also been engaged upon
■notner piece, entitled Phaone, a composition in the grace-
fill s^lcb nd whMi he liad dualincd for the TiMn ItaUat.
It wai KprHcntcd before the court the aane yenr, dvrinf
its stay at Choisy, and was much admired. It proved the
means of introducing him to royal patronage, and he
ms accordingly engaged to go twice u wetk to Vcr'^iiillcH
to give lessons ill siiifjiiiff to llif queen, from whom lie cx-
periencul tlie most tluttcriiijj; :ittclitii)iis.

lu the incaiititue, the Kric war r;i<rcd with rciloubli'd
violence. Birton, director of the (ijii r;i, did all in his
power to allay the acrimony of pariy-sjiiril, by trying to
cflfact a recouciliaiioii between (he chiefs. For this pur-
potetae gave a splendid supper, where Gluck and Piccini.
dfter being introduced to each other, and having embraced,
they were placed at table ;tDgitli«r. Thqr coinened
during the whole time iridi great oorfality. AAeraamcr
the wina dmdalcd fiedy, and ffladc npUniibed bla
glass with Ids tisnal fieedom. At last he thas addmaad
his neighbour, in a tone loud ennn^rh to be heard by the
whole company : " These rreuchmen are a good sort of
fellows, but it dues amuse uie to lieur llic:ii u^kiiip^ nie
for uirs fur theui to siuff — siuj^, indeed ! they kuow nothiiipf
ulioLit it. My deur friiiid, juu iiro a man celebrated all
over Europe; all you think of is your glorj' and renown,
and accordingly yon place before them the very best of
your music: but what do you gain by that? lielieve my
VOcdt all you have to do here is to gain as much money us
yon can, and thlidtof nothing else." Piccini politely re-
idk^thit theanthor of Alce$Uvias himself a proof that
itwaa paaBUde to attend at thaaame time toooe^a gloiy
•ndoaePsibrlmie. The two rival compoacn aepanled aa
they had met, and no doubt their demonstrations of good
will were sincere ; though the warfaro carried on in their
nami -, ( Diitinued tu riiZ'' furiously as ever. The obscr-
Vutioii iiiude on the l eleiu aud hi ads of two factions is per-
fectly applicable in the present instaneer the men who ap-
peared the least to belong to a parly were t!ie heads of the
parties themse Ive'.

In 1782, Ciluck quitteil France, and about the same
period the celebrated Sacchini arrived, which was a new
rivalship to Piccini, though this spirit was never
carried to anA exoeis aa in the instance just recorded.
jIceiituBe our c wp o e er eonthned to gain fraah laurels.
Bla .^^hadi^vcBgeoctal aKtielhetioo» and thbiiraaliil*
lowed by iMiim, iridA k gmnlly comideiad aa Ui
master-piece, ft ia one of flie moat splendid worin of
the French lyric scene, uniting to the highest dramatic
interest the charms of the most expressive melody, and
highlj-wrounlit haniionies. The following yenr (17b3) he
gave /^.' Dv.i-miur rvrUle and Lc Ffiur Lord; in 17S1,
X)ic;n' ft }'.)i<iijrvi' , which contains some deliojhtrul
music, tliouph the j)oein is weak ; and in 1783, 1'l'nelopc.

In 178(>. Sacchini died, it is said lliroui^h chagrin at the
injustice which lie was doomc<l to experience. Gluck also
died the following year at Vienna, whither he had retired.
Fiocini himself pronounced the eulogiun of his two
rivals, and proposed that pubHehmiMiBahaiddbe decreed
them. He afterwards oontiniied the Arection of the Ecole
JcCSkmrf; which had been entniated to htm sbice the year
1T68, and produced several other work.<!, among which
are Clytannedre, Adile de Ponthiru, and Phaon, an old
opera which he almost recom|)c)scd.

On the breaking out of the revolution he rcturne<l to
Italy, after loslnp: greater part of his properly. He
arrived in >iaplc» towards the cloM: of 1791, auil expe-

rienced tlie most flattering reception from the king, who
granted him a pension, and ordered him to prepare several
works for the theatre. He also expressed a wish that an
old opera of the eompoaer'si Aleuaadn neU' Jndie, whicfa
had heeBpeilbimedatSaBCailoBiaTCBlcanyian befiwflw
ihoidd ba icMvad. IWa wia afleeidbii^j dnnas Tlocfaii
added three new aira and a trio, aad it experieneed arecep-
tion still more flattering than at its first production.

Thus far every thing proceeded well, and a fair prospect
seemed 0|)ened for the comfort of the composer's declining
years, when a ciiciunstance occurred uliich painfully dis-
plajs tile weakuos and imbecility of human nature.
Having, durinij the latter years of his residence at Paris,
caught a portion of the revolutionary spirit of the limes, he
had the impnidence, (ocall it by no harsher name, to profesa
thoiie opinions loudly in the heart of Naples, and in the
veiy ear of the aovcr^n, hii patron and fneod. The
CMseqiMiKe ««a,tbat fie drew down upon himsdf mia*^
ii»tineeaiidpcnecittiOD;and being proaeribed and placed'
under the anrveillance of the police, he waa obliged to re-
main for above four years shut up in his house, aban-
doned by bis friends, a prey to want and every vexation.
It, was during this time that he found !^onic cunsoiatiun in
Retting to music .several of the psalm.s, in the udminible
translation of his countryman, Saverio Mattfi. Tiu seat
the same time proved the means of his subsistence, being
disjiosed of to different churches and mooaatcries, whcta
the original scores are still preserved.

In lliis unhappy situation he remained Ull the year 1798*
w heu the celebrated singer David having procured him an
engagement for Venice, and a paaanort being obtained
from the Uag for llutc^, he proAtoa by the otnaantn
letura to IVance, Olie very day after Ua airival,bewaa
invited to assist at the distribution of prises to the memben
of the Conservatory, where the appearance of the old
favourite was hailed «illi disfin^iii.-,lu'd himours. His
friends began immediately louse ull their tntercst for the
amelioralion (jf his circumstances, which, as may well he
supposed. Were at a very low ebb. They succeeded in
obtaining him a pension of li,0OU francs, and an addiiiunal
2,400 from the funds of the society De* Encaura^emtnt
UUknoTtM. Influence was also used to get his former paw
sion of 3,000 francs from the Opera restored, a recompense
to which his memorable services were surely entitled; bat
the application was r^^ectcd by the adminiatntion,n|ion
the that ftw, if any, of his worin held a phea aaww
the atnck'fieMB of the theatre. This was a niscnble ana
wnrorfhy evasion ; for surely, though circumstances had t».
cently prevented the^jroduction of tliree mic!i iiiastcr-i /uijcs
as the sublime Iphigeiiit en Tauridt, the lender Diduii, and
the severe Paniope, yet they could never cease to be ranked
amonpf the noble ornaments of the French stage. Nay,
the very year of the application, the score of Penrlope w as
adjudged by llic Conservatory as one of the most classical
productions that could be olfered to the pupils who had
gained the |)rize. But nothing could avail with prejudiced

judges, and tlie c'.aiiu waanjectcd.

To console him, in soma mcasnrs, for his dlsappoiat-
ment, apartments wcra procured for Um in tlis Hotel
d'AngtvUtier, where a part of Us finnlly AoiilyaifUri«>
joined Mm. This, for a season, proved a balm to his
wounded spirit ; but his inquietude for the remainder of
his family, who were left behind at Naples, threw him into a
desi>oiidinj; stale, which brou(j;ht on an attack of ])aralysi-^.
Ha\ing recovered friuii this aflliction, he took active fctcps,
in ronjiiMitiou with his friends, to»ard.s procuring bis
nomination to the appointment of inspector of the Conser-

Digitized by Google

ms HARMOKICON.

TOlBiy, a situation wliichhad nlreaiK liron promisp;! liiin.
VRth this view he obtained an undifncf "itli the tirnt
Consul, who received him with kiiulncss, and ]»romisctl lo
forward hit mitt ; he at the same time requested from him
a march for the Garde Consulaire, for which Iw made him
a handsome oomidenition. The minister, on bis side,
hastened to briny tbe nlbir to a tennination ; and early in
the foUowiqf jenr (IMO), Ficdiii wasappointed to the
newly eiwatodi place of iaapeetor to die ConMnratory,
under the title of the national gratitude. Bui these
laudable exertions in Us behalf came too late ; he expe-
rienced u frcsli return of his ibrmer attack, and l>y the
uil\ ice of lii.-i physician set off a few da\ s utter for
Passy. It was. hoped that quiet and the nir of the countr)'
would have restored liis laii|Tiiid prinprs, luit. nla^! tlip
source was dried up. Xcw dimu'sii;: utHn ti..iiis iiIsd i ;i[iit'
to harass his sinking spirits at ttic moment tiiey retpiired
the greatest re-action. This had the effect of accelerating
his end ; his weaknc!<s increased daily, till nature yielded
nt last, and after an agony, during which he preserved all
his ftculties entire, he expired on tbe 7th of May, 1800,
•tdieigeof 7S.

He to tatoiied in ttie borial-gcoajid '■tPnny.iriiere a
hnndsome tomb of blaek marble to erected to hb memory,
upon which a faithfiil friend, who rendered him hts last
duties, caused the following simple inscription to be
■mmiBi

lei lepoie

Nkofau Piccioi
lisltN da U Chapelle NaiMMAH^

CiKlir* in Itiilir,
in Kraijcc,
en Kurnjx- ;
rhrt iiux Arl» c( il I'Amilii- :
ni: i Bari, dans l>tat <<e Naplei, en 1728 ;
nMrt I I*^y, le I* Floi<Sal, etc.

Fleciol left a widow and six children, who bad no other
{riwitaBce than the genius of their &ther. lb* gorern-
mcnt was pleased to cKtend its bomemleBcn to this inte-
iHling fiunily. The appoiatmeot, which was expre!«.<4ly
onde fbr Piccini in the Contrvatoire de Muaque, was
giyen to the composer Mon<iigTiy, but under condition
that the moR ty nf tlie sum of 5,000 francs attached to the
situation, sljuuld be [raid an a pension to the widow of liis
prctlecessor. This cxreUfiit ami ^modest nrtist, to whom
good musir is ill :i urcat mrasure inilclited for its establish-
ment in I'Vanci', afredcd to (lii se conditions not BO mUCh

under the form of u churi^^e, as of a grateful duty.

In his person, Piccini wils above the middle size, l<'it
well made, and w ith n dejwrtmcnt possessing considerable
dignity. Hi^ ciiiiii-t'tiance wo-s extremely agreeable; his
1h«w WW broad and open, his eyea blue, but animated, the
fbm of hto Doae and brow was perfectly Greetoa« ttd
bMpoka th* Cheek blood wblcb 11111 flow* in the veins of
(he pare laea of Neapolitans. Hh mind was vigorooa,
actensive, and cultivated. He waj< pcrfecty well versed
in Latin and Italian lilerntnre ; aiui ai\er a short re-
■ideiice in Frunce. nnjuired a very lapaotaUekiiowladfe
of the authors of that country.

WBBSR'S BTABdT 9UTBR, A POSTHUMOUS

WORK.

Im an article which has appeared in the German Journals,
]dusic-<lircctor llungenhagen, of Berlin, announces, that
OB him haa devobred tho taali of tmperintendiiw the pub-
BoMioa of • pMthnwmt woik of tba unA-tamtiitod

985^

M. von Weber, the profits arising from which are to be
applied to the use of his widow and two children. The
subject is one which lias exercised the talents of almost
all the prreut composers siuce the days of Pergolesi, a
Stahat Mater, for two soprano voloes, and one alto. It
is to be given with Latin and German words, and a
piano-forte aeooiiqwniment ; together with a Biographieal
Notice of the compoaer, deriv^ firom the moat autbeatie
soneeeib an empcnd Ukcncas tnm an original portrait,
and • fte-aimiie of bfo bend-writing. Tbe most livelT
intemtto excited nmeerakig the woric, which is aonounoM
to m nir r its appramnm miij in thi Wnrtmbnr cif the pinsiinl
yeor.

In the same journals is also the followinpr announce-
ment; a new nnllet-piece (Pns de cin<j) for the opera of
i.'r^rvi.','. '/, i , conipospil by M. von Weber for its first reprc-
Kcntation in iieriin, and arrauged for the piano by the
same.

In another journal is the following letter from thin la-
mented artist, which possesses little other interest, than
that of lieii^ the tost written by bis hand. But.iu sw^
caaai^ even trifles aasnme » niva, and an Wgaidad hj
somepcfioaaaalilde ton than sacfcd. IttoaddRaaed.
to G. A. Stompfl^ to thank him fbr % oom of com-'
plimeutary verses on the first appearance of iMtmtt and
the small accompanying present of an opanti^asa,

" My worthy Friend."

" AIlowoM to return you my beat thaahr

for your spirited, but too flattering copy of verses, aa wdl

as for the acceptable present with which they were accom-
panied. Be assureil they sliall both be carefully preserved
us memorials of your reg-artl and esteem. The sweetest
reward ol an artist is to know that bis productions are
approved and aiijireciated by men ot ta-te and seiisihililv.

"May the good wishes you are kind as to express in
my regard be accompli.shcd, and may I soon have the
happiness of returning to the bosom of all I hold dear.
In tne meantiw», do not fiul to cast a thought from tline.
to tina on one, who, though seperated by distaoea, to.
stiO ni^ to you in heart and feeling. Bdieve ms^
*• Your obliged and sinoan .

•*£o»diw.Jfiv8I. im"

HOZABTS SEQUJSM.
Ttt Us Ennon of Ik H«SHinnco«.

Naeemher 1. 1826.
8u — When I wrote to you, in 1824. respecting the
fnion of Monrt, and sent you the letter written by Sua.
msfcr, you very justly observed in a note, that the letter
went bat a very little way towwdi dearug tiie donbla
relatiTe to the Score pufalislMd at Le^iaie. Snamajcr
did not cottless the |)assage8 which be had borrowed from
Handel, puruculurly two fupues of that great maatar.
I have just learned that Abbe Stailler possesses the auto-
graph MSS. of the lirtjuiem, -such as it come out of
Mozart's hands. He is preparing an edition of it, in
which he will carefully point uutdldiat bdo^ga toHocai^
to Uaadel, oud to Susmayer.

Tow's, 4kc.

Fatoux. '

Digitized by Google

THE HABMONICON.

ON ORGANS.
ICmebiiml from page 198.]

8T.lll«aABL'« orgn faM «T ■lopa»(BM .

M)!,caaliiDiiig U pipei of 18 feet, and S «t St fett; 4 raw* tt keti,
•nd ten P>in of bctkiTrf , with the pedala, vxli-nHin^ from ikiubie-
dooble C to P in alliwimo. The flute itup is eompoM-d of as ituinT
real 11 ate* u (hrre *n< note*. It WM boilt IlililcbninH, at nn
expense of above tuuiK., agreeably to thr vill of Mr. Matttu-xiD,
and ia probablj the raoM co«pla(a, if not the laiftit, in Karope.
There ue bar etbar laiga oisua ia HaMburv. one of tbeni aa oU
as the ISlh cemlaty: Ilia oUier Ikne were built by Splitget befoie

mo.

OKIAT MANVAt.

CHOI* MANUAU

1. PrinnjiiU

.!« f«t

I. I'rincipat .

. 8 feet

i. Ofim-f .

. 8 .,

a. t Viula nutri* (half Mou) —

i. C'omrt

. . Siaaka

S. Jitrdm . .

•

.18

4.aMww

. .91m,

•

Ocliiv* « «

fi. Q»i«(«<f»n ,

. « n

•

. s .

T. A*|Md%

IK.

T. fi'iqrclH

. 4 n

0. OUm*..

•

8. firf'/i . . .

. 8 M

9. Chaimtf

•

• -

9. Afiz<urc . .

. S maka

10. KatoH .

•

. a »

10. Do. rymW .

. « ..

11. Quint

•

• ' >»

IX.Octatt . .

. J fe«-t

IS. h'ifietmh

. < .

It. Tnunpet . .

a 8 jf

IS. AofNiiMr

•

It, rwm kmmma.

•

14. tliaimm

•

l4.<lmMl(Mto)

•

. fvaaka

U. Do. . .

•

Tnmfit

. 8 feet

raoAU.

Mo Mbm

•

I* Gmii

.» f«ct

fcjiS^ .

. ■ IT

•

.18 •

*. AiMm

•

4. Do. . . .

. « -

4. Do. .

•

a. D«. .

. 4 „

5. Orliitt

•

• • !•

8. 5(o^ liiapaum

. 8 ..

C. Piflh .

• ^ •»

T. Octap* . .

. ■» „

.19-,

8. JftKMn. .

. Siaaka

8. UcloM.

•

• « »

•.Mmw . .

. »lm

•

.lOiMka

lO.OMta* . .

.t »

10. Wnaiftdw

•

.88 (Mt

II. TItrm m i

. t .

11. Do. .

•

IS. QiiM . .

18. Itamm

•

IS. »-MKfe. .

U.Cymbai. .
IS. CMmt^ ,

•

« Smka

. SlMt

i4. CbrSm

•

. 4 ,.

WBDIGARTBir,
A. BwadiMine WBin Haiy fai l «a h i% MNtaaa aa inatrument of
great cateMltjr. The gNat oigaa coalabt II iiopt and SIT6 pipe*;
the choir orcan 10 (UipaaBd I|T6 pipe*; the third manual ISMopa
ftticl 1274 pip.>, Ibaaebe II atom and 1?83 pipo», and the pcdalt
18 atop* ami 815 pipei. Thf whole number of stops is P<), (Sir J,
Hawkins sava fl6) »ni of pipes 61566 ; 7 of winch an- df If fc.:;, and
8of 99 feet. The builder, Uabelaar,of < Im.Kavc such naiisfaciion,
tint Ika MOk^ who weie iniracttSelr rich, bto said lu have pre-
■a(atl4 bhatvltB 8666 llorina above hit chan!:<... There is a drawing
4Md«daacriptioa of it inthm FaelmirfOrgu*:

ORBAT MAHOai..

1. Grtat Frmdijal (nie-

•al) 16 feel

9.A^>a;(do.) . 8 >.
a. HmU (do.) . • "
4. KMowalto (do.) . « ^
8. Odatf (do.) . 4 „
6. Fi-agroirt , , 4 ^
T. Sufier-oclnr)' . . 2 „
«. miihiTr. . . . *0 ranks
t.tJtaiMcA pip* , . S „
M.ClfMt tt Wifcl ) 4 ftM

11. lYwipt . . . t »

CHOIR MAMOAL.

I. £unju» (wood) . .16 feat

a. frin/-r;<ii; f tueial) . . 8 ,

S.t&l«c«oiut^ (du.) . 8 ,.

4s . (wood) 8 „

8.t9Ma«MW* (do.) . 8 ,

8. fMoiMrife (aaaUaeale.
anetal.) • « • • 8

T. Ortm-f . « . . . 4 .,
H. /■Yu/.' . . . 4 „

9. Hamm . . . Siaokt

18w fV ai af (fo laaka) .l« feet

MTStiiaa.

llTlpipaa.

Ks* Kims. I.smiIi.

1. MM^(niftal) . 8fcet
». OpjiMj^ * * « *

4!tf' 'r;' S Z

5. fViilf ilituef (wood) \ „
a. l-'lHlr trarirtf(mv\m.\)A „
7. Fiagfolrt . . . S „
H. SrUjUitUtra, , . 4l
.1. Mixture. , , .1$

10. Hauibojf . . . • i

11. rWtaaMM . . •

l9a JNpNt • • • • 4

1. i^wiM CVm^ (wood) 16 i«al

a. QiiialarfHi . 8 |0

4. da gamba . . 8 „

5. Omp/ni yfate (wood) 8 „

6. OcfoM (MkU . 4 „
T. ^(osMfet

8« JVWIB • • • • a S If

. .Iliaaha
. . 4 „
. 8 feat

18.
».

raoALi.

lU. KuaM. Lm§th.

I . Prtncipai (neUl) .S9 feet
9. aMi6ant(waad) .88 ,.
a. Smh hm u

4.0c«a««(pMD. m

5. f'u/oN . . . .18 I,

6. Flulf .... 8 „
T. ; u4.inr,Un . . . 9 ,

8. Ava'^««M«*(aM«Bl)8 .

». Flmlt .
10. PlagmiUt
M.amrtm

14.
18.
18l

. 8 feet

• 4 „

• Xm^
.aaifii

• 18 M

■ 8 „

81 5 pi pet.

TOURS.

The C^ialbrdral orfcan baa GO itopt, and pnaaeaaot imoiriue power.
It hai S rowi of keys and IX pain of beUowi ; 5 pipes of 16 fee^
and 8 of S8 feet, and vai bailt by J. B. N. be Fterta^ of Boacn.
viaar kahoal.

.aslCat

•tt .
.18 „

.la »

• 6 -

. 8 „

• 6

.8 »

.4 .

It :

• ^

• %

. Its.

• 4 ,
. 9 »

N« NalSM.

1. Primetfml

• 1

■ 0

3. liorJmm

•

■ at

X. Do. . .

. a :

•1. i}itij>n*ttH

. 8 »

S.Odmf .

. 4 „

fi. D... . .

• 8 »

1.*DouUh.

. » »

S. QnitU .

•

. m

9. Do. . .

. . 1 »

10. Ttrrre. .

II. .Vitturr

: .Ui.

19. Cometh

IS. Ti-mtfM-t

I 8 feci

li.tCrtmomt

• i

IS.r«*«NMI

ifc wiim

• 4

88*8.

. . 8IM

9. OMore .

• 4

8. Carnrt .

4.Bombmd

•

• iia".

«. Tmmftl

a a

. 8 ,

ft. Otorfea

•

• 4 ,

OBBAT lun

1. OnNtt friae^taf .
9. at«y<t* ifiaw .

4. Aytidaai • « •

5. Do

6. Dimpa$un (metal)
T.Do. . . (do.

ttlOb.

n.<

l9.gaM .

IS. Do. ,

14. Do. ,

15. Tbre*
I8.D0.
19.1

18. i

19. 7Vuai|Hl

20. Do. .

21. I>>. .

22. ('la
U.tta.

.Ui
. 8fcal

• a at

. 8 ,
. 4 ..
- 4 „

1. r>iHa(MRali

Mf .18

8. f>»paiMi .

. . •

S. Do. . . .

. . 8

4. FI<U« . .

. . 4

6.a«n» . .

. . 8

T.QHM . .

•»

9. Tieret . .

. . 4

II.AomtenI .

. .88

•

18. TrttmpH

. . 8

H. Ctarioa . .

. . 4

*•

I5.IH1. . . .

t Not in the Haarlem liat, except ander dIflimBt a a— a . The
Great I'nncipal is euuiraleni 10 our opon Oiapaioa ; lha RAh oc
Qaial^ to otic TwaUtb :— « feet it the lacaaat* of aa o]» pip*
a oa the violoacello. — I r» ( il«t of ooa^
•1 la^a'ttft^tafUwoctavea below the 8 feet pipe.

Digitized by Google

THE UABMONICON.

987

WUk «■ Ike iriilMt of otpn, H OM* not to nl»>

tatMag to mU, th«t • netmal d u e np ntum of Ab

{ostnunent has recently been discovered, unquestionably
tlie most ancient one in Verse that has come down (o
us; the aflfc of Julian, to whom the well-knowji riiiErrrim
iu the Antholopfy is ascril)cd, not \>e'm^ ascLTtaiiiod. It
occurs in " Flasii Cresctmii Corippi Jokannidoi, lihri
VII. ;" a woric of the 6Lh century, edited by DoL Pietro
'Mazzuchelli, the leerned prefect iirthii ftiiilllCwitll litlMJ.
Milan, 1820, and Ls as follows : —

" Sic ditponnntor et arte
Oi;;au plectra iTrir, diKitU pulranda mn^iitri.
Quam mowt ilk, lunai cnnlactu HMula ventu :
Non dionte, aon tsm geoiUDt, ni iponk: leicrnli*

Oroil pmuli ratwwat m>re«ia cicutii."

Corippi Johtmnli. j*. Tl.

There is a prose descripiinn nf the or^n, in the works
of Saint Aiij^twtin, 1697, toni. IV'.. p. 539 ; and-in those
of Cassiodorus, torn. I., p. 21, — II, 501 anil 587, 4NW of
"Whith ])ri«apes shall elosi' tliis coniin\inication.

"Itr^nniim csi i^uaii lurrin <ju;ixlani diviT<i» Hstulii Cahric^ta,
tjuibu* datfk rollium vox copiotiuima deatinatur s eC at cam
■KMlnlaliiO deeofa componal, linqnU (]uibo*iiain liKlxi* >!> inlcriori
part* ooaMraiWr, %«at 4iici|>tiBabitilef au^iatmruni duiu lepri-
■M l a ii M M l ii w ■M iiin o«M ri Mi « Mi MB l l l h M B i.' *^ Cimh -
mrm, nm, Ml>

ITALIAN OfBKA IN PAKH.

To the EoiToa of the Hauionicon.

Parii, Nactmber 9, 1826.
• • • • •

Madame Pasta has taken her benefit, and her leave, in
Mayer's opera, Med'a. It seems that her departure will
be the signal for a complete rarolntion in the mtemal
management of the Italian Open. M. Rossini, to recover
kiiBMsf firom his tabounwa dii«ctar,«idobtata moM ■fter
Am 4b CSorMAe. menu tooMn of ttam^
iis monlto. Htiattodi^ h ii iHHim w l , to tmploy this
ltaniii»vUttokiiMll«««iMBttj,«lMntoa«y sleep at
bbMn am UtUnnb nd deoeiraliom. Bat what will
become the Cfpha Bnjfk durinr Itfs' ainence ? There
«re reports on thin Milijecf. which, (Uthouf^h not yet official,
I believe I c:m aii'iwor fur as correct. It is said, then,
tliat M Rossini will abdicate the dirci torsliip ; liiit, in
crder to recompeiisp his /nyal services, and bind him to
us by indis&olul le tics it is intended to create for him the
office of Intendant'genaral of the Mu*ic of all Prance,
witli the title of Pint Compoter nt orttinary hi the King.
As to wimt power these new dignities will coofer, or
^Aednr they ara purely hoooruy, sn more titen I csii
ytt Mqadnt joa wtth. I mew otMirv^ tfnt then it
a rat mmtt it tho ThUlnRattai, MdM. PMr.wlio
fib it |H Wi W i B n Bj ta the intecim. vn1l dovbtleee be n-
cdled to Us ueient office. At the finiit news of the
difficult commission with which lu' wu.s ch.'ir<jcd by the
department of iho heaur-arU, M. I'acr wannly exclaimed
■gainst the ruinous i i.nilitii)n of the company and thea-
trical property di liven ii to him. " What '." .said he — (tor
here the act-mnit makes him speak after tlic manner of
•Riucydides uxid Titus Livius)— " What ! is it in this state
ct drsolation, after so many false manonivres, and when
the general has abandoned hi.s army in a state of rout,
that the commend is given to me? They have charged
Mto get tfanNi|;h the winter campaign, with Addtima ud
-« ts] only ~' ** "

dtNoerw!.."
The reet of ttb hen^gne has not been tmnnltted to me.
Thus fiur ie eeitnin, tlut to ell the fine compliments which
were lavished upon him for his zeal, in order to (<[ild the
naii'^t'ous pill, M. Patr iitismrcd, that he suw no means of
periurming anything but L' Impraario in an^uttia, (The
Distractetl Director.)

• • • • o

MUSICAL TOUR IN GERMANY.

<le Bmnm of lie Hmmiicwi.

Sir,

Ik ViMi s1ih;i1i1 <\ci-m it likely that fhf fullinrin;,' rxtracts of
a letter, whi< )i I hiive jint riH-eivcd fmni Mr. I. Mo»iiinF«,
dated Pr^ifUf, the 3iJ of N()vrrnl)cr. iriKilri h.> inter' stin^ id
your readers m thpy wen- U> ine, yoii ure welromr to five llicra
ii pl;Mi; ill uiur valiMble Mfork. lu order that tl»e>e p\trarts
way be Uetlcr unik'ri,t<M)d, I beic to inenliun, that Mr. Mutulielra
hss been on a profetaional tour in hij native country ever since
the Slat of Scfitomber, and from his own account, as weU at frutn
the furcifn reports, it sppcsi% that his pHbBe eoocetta at Ham-
burgh. Leipzig, Prague^ •a«Y%mn, owe ottraM with »
aaceaii. whhh avprneei «fM IhM of Ihonr yeen. -He Is

iHrieMleaaqMli

to behsNk Ml the

ef dw new year, to renmslis psa-

Ia«,8k,aR.

J.B.S.

"Upon my arrival in Leipziff, 1 made my tourof picfr
•sure n jtiimicy of liusiness; this 1 was so much the mon
called upon to do, us it happened to be the Michaelmas
fair, which, a.s you know, brings to this city individuals
from all parts of the globe. In Dresden I met the
composer Wolfram, of Toplitz, w ho came here in the
hope of obtaining the rituation nf Maestro di Capella to
the king, that ofl^ having become vacant by the dnth of
C. M. von Weber. For toie h%k elation then is now aa
interesting rivalship between (he Mlawing celebrated otm-
poaers: — J.N. Hummel, of Weimar; Sc^ed, of Vienna;
P. Schneider, author of the grand oTfiiorio, Das ff^eiigericAt;
Lindpaintner, of Stiitt^T'ivjIt ; nnd a great many others.
Wolfram brought out on Uu' Dresden stage his new opera,
Dii- li' zaiifii rlr lime, ('ITie Knthanled Rose.) for the per-
formance of which the court expressly came to town Iroui
Pilnitz. Tlie mu-sii- of lliLs opera is e.vlri inelv Jileflsiti^,
ClieblMJ ainxuLUl, aiul not without theatrical etfect. The
seveeercmies might pcrimps ophnid the composer with
an ooeasionsi deficiency in invention. The membcn of
the'couit, in whose presence it is a point of etiquette BOt to
appland, aeemed ao well satiaOed with the j '
that die c o npoaer was wwaided with a
set in diamonds. Notvrithstandiaf^ the cliBpel>aiaaler8
place has not yet been given way.

" * • * 1 \isiu'd poor Weber's widow, and found
her still incousoluLilf tor iJie loss of her husband. She
burst into tears as soon as she saw me. What lias deen
rumoiircd here, tmd even in ?'nglsnd, as to (heir not
hiivii'.^ lived h;i[i]iily lot;^ethcr, is, I can a-snre yr.ii, a
calumny. He hiis left two line yonnsr Iwiys. I-XIriteuuu,
the comi)anion of Weber, was just arran^jing a benefit
concert, to retrieve what he l«Mt by unsucccbsful specu-
lations in London,
"On the loth ofOetobar I anivaduiViaBBa. where I
(avMiontoto

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238

THE HARMONICON.

I plMfd were wannly applauded, but puiiaiwAj the
RaammHom oflrtlank, which I had to perfimn twriea.

** Amaof; tha faoaale TonUats of Vknm> lide. Sdnch-
MTi fomerl J at Mmrfdi, now holda the lint yuilc ; the
Otbeni, indeed, hardly deserve bcinp; mentioned. The
Italian Opera corps i« oxpecte<l to arrive within a short
time. Tin- v. ti'r.m rnm;i(>' i>r>. Weif;l, (ivrowetz, Scyfried,
arc all well, liui ijiiiu' iii.ii tivc: (lii-y wr.ie nothinff. The
great BeHliovon, in addition to his other cnlaiiiitic^, has
had the misfortune to sec his nephew, in whom all his
afiections were centered, turn out a maurain siijet. Afttr
TaiiouB instances of had conduct, this youth attempt) ,v -
'Cvcr, iccoTcred, and Beethovmi now intends to place
him in a r^ment.

"Inatninentnl music is at pwrnt in Vkona by no
iMaM fai • floaiuhinfr state. The qoaitett paitfea of
Schupansig is the only good music that one hears in
this way. Maysedrr, however, still does wonderful tliinfrs.
Merk is an extraordinary violoncello player, who would
everywhere create a ;frpat senniition. A yoiin;!^ nohcinian,
of tlie name ofSlavik, is cotisidered in Vienna a'- t[>:' sr. ood
Pajiiiniiii. Wliat he venlurei and executes upon the violin

really incredilile. If he were ratlier more calm, he
Mould move the hearer a» uiuch as he astonuthes him.

"In my uativc town, Praffue, the opera hasgona to
■aicep ; but church music makes up for its lethai^gj, and is
at prmal in an excellent state. The celebratad giud
OonMmton of Mnie floniiihaa alOl ; and, I noil aay,
tfnl <lw poAmaaM* of inipiit wMth I attcndad, did
B0t]|kldiBfhadigiilntd4pae,fir«Ba«y mdpneMoB,
40 Ihe moM pfaetued OKhastn I hare heard.

" I met here in Prague, also, the two Peiriili s. who,
after havinf^ been horn-playcrs at the I<<ani(ju Italian
Opera for twenty-three yeur^. have -^filled in this their
native city, to spend the remainder of their days in peace
and rcpaae."

• • • « • •

LH.

LATIN IIANUSCRIFT ON MUSIC, BT TINCTOIL

nilc Ennon ^ a* HiBmmieoM.

October IQ, ISSM.

Sir.

TiiK iinpiirtant manuMrript of which I tranunit you an
aTount, was ohtainpd by me from Sif. Se IvRirci*, who posmied
a nuiiilicr of MSS. of the fourtcentfi ami hflu>enth centuries.
After an attentive tHTusal, I felt persuauni that had it been known
totheeelebratcd Martin Oerbert, lie \riiiild have deemed it wortliv
of farming,' a fimrtii volume ut hiii iiiterestinif collectiun, entilleJ,
Seriptores Kcr!eK!nstici,f) e. IinprcsBt'd ir;;h tills i li^a, I siTntr to
tbe minister ufttie intoriiir, M. de ^Jo>l»lllivl'l, f.>r lii-i |n'riiiission
tttprlntthe manuscript of Tinc tur, umlcr his aiisjiit i s. Not only
was ha pleaMd tu accede ti> my prtiposiU, hut lie also laid the
■abJtttMlantbe AetuUmie Het Hraux-Artt, requesting thein
to maka lhair report upon Oe work. It ii tbe substanee uf thii
lapoft that I h«v« heraviik tnMwaiiltad for tout valuabla
Jauml. Added to this. Hti EMrihaev deilrad hti aaaia to
atanilnthe Uat <>f «uh«criberi fur one hundred copft^ at the
•aow tiaie pntmisiui; all the patrooaifs in bit powar. Tt» wwk
was on the eve of ^oin^ t<> preu, trben the sadden political

• It is to lhi> intl4'fi>iiirahlf cilWf.or, who i« a nalire of Nsptrj,
thai the musical uorld i< ir.debiH, atnon^ other impunant object*,
for one o( Uic moil conphrta collecliou of the mvna of McsUiaa

chanjrci of that period, delayed the projected plan. On
quittinsr France, I confided the prcciuua manuscript to tlie care
<if M. Perne, "ho pruiKHf* to print it cuMiviintly with hit friend
M. ("hiinin, ;in .■nUu'hP'nL"! artist, ! ka'r.rn fiir Ul fial
and unwearied exertiung in the caute of muaic.

Iai^. 8ir, Y«aia,&c. &c.

Fatolls.

Extract of a Reportnmie if M. CBOMMr, l» Me **Cfmm
de* Beaus'ArU," rdoUve la a mwlf-iiteotend Jbrnt-

script of TlXCTOR,

Thk Minister of the Interior wa-i pleased to submit to
O.iv inspection of the Claue dex Ih-aux-Arti, a manuscript
w i Lrii at the end of the fifteenth centwy, containing
scvcrul trerUses on music in the Latin lani^uage, in ordor
to learn their opinion relative to the propriety of the trans-
lation and pnhlkatiao of tha aaoM. Tba SetHan ife
AfKngHei to which the mamiMript was refcnad, now peeaents
its report — a report founded on tlie result of reaeaiehas
made with the strictest care and attention. This ran*
nuscripl, which contains 252 pages, forms a complete
collection of the musical treatises of J. 'IVintnrier, a
scholar of the fifteenth ceiitur)', the most estcemid didactic
writer of the French and Gallu-Kelgic schools of music,
which were siucces^iively so famous in the fburtacoth,
fiileenth, and sixteenth centuries.

J. Tcinturier, called Tinctnror Tinctoris, according to
the custom tliat then prevailed of latinizing names, waa
boni at Nivelle, a town in Brabant, between the yean
1430 and 1440. It was at this period, as we lean Groa
hiitacy, and fian Ifaielar himadf in one of his tnatiBCi^
that tiU FlcmiA ached of nuaic began to fimn llaelfMi Ihia
model of that of Flraace. at tkat t&e die moet edetnatcd
in Europe. Tinctor. after having pursued a successful
course of literary studies, received the degree of Doctor
of Laws.

.■VcaM iiinfT to tin- 1* stiniony ot (jiiiceiardini, (he profound
knowledj^e whu ii lie possessed of music obtained him
the situation of MtUftru di Capella to Ferdinand, king
of Sicily. In this capacity he passed u portion of hi*
lUe at Naples, where he composed his didactic worlia
on moiuc, which were \i-idely circulated throug-huut Italy,
He ai^erwards obtained a prebend in his uatiie country,
tridttcr he letanied. and taught the civil and ecclesiastical
hnr. HeisiaippoaedtohaTediedtowaidBthecloaeoftb*
tixMeHth MntniT,

Hw Wnrica efvI.Teinturier comtabed In the manuscript,
are eleven in nmnber they are dl purely didoctip,
relatin|r to the practice, at;d not to the malheuiatical tiwoty
of the art, and may be divided into three series.

The first series, which relates to tiie fundamental prin-
ciples of Uie musical system, comprehends the seven first
treatises; the "-liMiiid, reialiiij^ to i i^/injiosition, occiijiies the
two fbUowiag Ircatiisegi and the Uiird contaios the two
lasl^ whidi tiaat upon g«D«nl auljcela.

lit Aeriiae— FovKOATiov of thi Snnii, imd

NoTATIO.y,

No. 1. Eipotitio manH*. (Exposition of tlw harmonic
hand.) — Ibis is a table of the aouads iwcludad within 4ha
Bmita of the wriee. with • deaa^tioii ef the letteia; kejfa.
and other signs hy which they an sfanply represented,
without reference to their dnration. iTie author here giyee "
the theory tif tlie major and minor modes, and a de-
seriplion of the intervals. Tbe whole terminates with a
Kyrie, in three parts.

No. i. Liber de ntUuri ac proprieiatc tononun. (Book
4111 the aaton Md piop«>9 fl(toim).r-^Ikto ia n ttMUiM tn

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THE HARMONICON.

239

Ihe modes oi luii^if, nnil «-xlrfmcIy well writtpn. accoriliiig
lo tlie dt>ctrinf of the tliiif. It Ls dated the 6tli of No-
vember, li'C), the porioii when J. Teiuturier filled the place
of Afflrt/ro (/( Capdla to the king of Naples.

Now 3. Tractatut de notit ae jtmtA. (Tmtise on
BOtBiaadpinMs).— Thb tmtiM to • dawriptkm of the
notn ud p«iiM» then b me.

No. 4. Tradabu ie ngatari nHonpmmtrum, (Trea-
tise on the rcgnlmr value of pauses). — ^Ttiis treatise forms
a sequel to the precedinjf, conlainiiig an exposition of the
ordiiiurv value of notc.t, according to the prinii;il> - nf
t«o-fohl nnd thrcc-fold division, which were then Lijijully in
w^, and distin^niishpil liy ihe terms pfrfirt and it»ji<Tff ! .

No. 5. Lib' T imjh rf i tiitiuim lUilnriim. (Hcmk mi llie
* iiii|>L'iK'Lti(;ii (if iiiJii'-).-- This Ixmk shp«s hcjvv ;i nuto
beloufcing to thf perfecl divi'-ii)ii iiuiv beiinne irnju'rfecf.

No. 6. Tractatut aUeraiioiumr. (Treatise on ullura-
tioQii). — ^The author explains how one note may take the
▼alue of anoUier.

No. 7. Seriftimman jnmelu mtmcalUms. CTrcatisc
on muaieal points).— ^Tbe author here treat* of the
diSerrat points in u^- in the nutation of his time, and
ivhieh po ss t s ssd the property of separating^, increasing, or
|>nftcttng the note.

TtuM seven works form a complete traatl<ie on the
nosics] semeiotechnolo^ of the flAeetth century.

2nd Stria — Or Composition.

Xo. S. l.ihi-r dr arte rontrapunrli. (Unok on tile
art of counterpoint). — This liook, which is divided in three
parts, forms a very cnm])rehensive treati se on sim|ile coun-
terpoint. The )ir-t jiart ri)n!;iiii-i \nri,Mis (ictailv on the
BUCOesiiion of rDnsnnaiiLes ; the seeontl treats of disso-
tnsnces and their eniployioent ; the third of counterpoint,
pcescribing ndes, and contoininjc numerous examples.

No. 9. Proportionale miaieet. (On musical pro-
portions). — ^This treatise is concerning the proportions
existing between the signs of ma^ic ; which proportions
tt/na IM fcmiHntion or euoasiiiiid other aitifictoi pra-
dnedom in eonnteipofait, fhat began to be Icmnni sod
praeliscd about the time when Tinctor mote.

Srd Serim — Gcnkral TaXATISES.

No. 10. Dfjim/driummiinre.t. (Musical definitions.)— .
This is a collection o( liefinilii uis, alphahelically arnui^ed,
and consequently forms a diLtiujiar)- ot the musical terms
then in use.

No. 11. Cowplriin affiTtuvm mimci^. (,V treatise
of the effects of imisir). — The title of thi.s la.st work .suifi-
ciently indicates its object. It it proper to remark that
llie latter chaptept are wuntin{; in the manusciipt ; but tltis
need not be a matter of much re<7Tet, as the last treatises
are unimportant, and the titles ot such ctiapters may ttene
in pinoc of the dittrters themselves, these tttles Ixinf finind
In the general tahle ef eoalenla at the head of the vohme.

* TMs description, as regards the ten first tieatise!«, n^prces
^th that f^iven by Padre Martini, in hi.s catalo^e of
nmnieni author' (Wirm dfUa Mutica, vol. 1st, paffc 496),
timl it further contains those fragments nt the I Iili, which
were, no doiit)t, waiitinc: in the manu.script of the good
father. In other res|H'cts. the ]>re9ent beiB all Hie nwlcs
of the most perfect authenticity.

The Secliitn dr mimtque has no hesitation in dedning
that the trunslntiun and publication of the works of
Tinctor cannot 6ul to prove hij^hly important to the
interests of nuaicb and allove all, cotiducive to the honour

of the French school. The foUowintr are the reasons on
which it gjounds its opinion : —

The works of J. Tinctor are imporlant to the interests
of music, ns well for their erudition, as with reference to
the art considered in iiselii bi'can.se the author's plan em-
braces the whole practice of music, on all the parts of
which he displap a doctrine of irreproachable i i ai iHSes.
Mis prn;rrcss is extremely methodical, his dcfinitiom an
remarkably djfoinws and precise^ and Ixis ei^antlionn
perfectly dev. A great iMnkn «f hb docteine, and
pailkularty the whole of what lekles to cowiterpohit, is
in use to ads d^r* AD thnt ha says of the succestnon of
inter\'als is inflnilcly superior to nnythin;; before at-
lemptc<l ; and I have no herflation in adding', to anything
which ' m e appeared on this subject, one of the most
im|M»rlu]it 111 cumposition, iuasjiuich as it forms its pri-
mary hasi".

These works would also prose very useful ils regards
the history of musia, because they contain several citations
and details relative to a period, which piresents an im»
mense void in the history of tfie ait, wlml it WOOid nn>
terially contribute to fill up.

The Keveu first treatises are the best works that have
appeared, rehitive to the andent musiial notation^ •
notation dmoat mkmnm at ptescnt, and concCToinir
whidi it wodd be cztremety iu ties ling to possess some
hifbmiation. On this suljcct there is no work extant
adapted to the wants of general readers; those which treat
<m it being written either in Latin or in fi)reip:n lancuuges,
and having' become extremely rare. In a word, these works
present a nummary of the musical doctrines of the whole
mi<ldlesge, which, being perfected by the Freiieli school of
that period, may be reirsirdcd as the counpcting link between
antiquity and the iinuierii ^-fliniil --ormin^, at the same
time, an introduction t*) the former, and an explanation of
a part of the latter.

Now this doctrine is perfectly established in the works ot
Tinctor, not according to the practice andproduclions of the
Italian scliool, nor even of that of the Flemislu hot aoldly
on those of the IVcndi, which flooiiriied dmiiy theeoune •
of the fiftaanth osnturr, and even began to rise into repute
towwds the dose of tne Ihiwteenth. for Jem de Hurii and
Guillaume de Machault flourfkhed about the year 1 380.
According to the authorities cited by Tinctor. these French
authors are Dufuy, Bra-ssnrt, Binchnis, Domurt. Har-
bingaut, Busunis, Fouqucs, lle^i.s, Cnron, and others, fruni
whom he produces examples.

Hence it is evident, that France, for a long time, pos-
sessed the heat, not to aiqr the only school of nmde vniidi

existed.

TuE Tricimial Meeting of the three choirs of Gloucester*
Worcester, and Hereford, look place at Gloucester Cathedralp
on Wednesday, Thnndw, and Friday, the ISIb. 14tlw and
l&th of September, tiie priiKipa) perfonnera were Ifisn
Stephens. Hiss Baoon. Madame Caradori, Miss 'n«via^
MiM Can; Messrs. Braham, Vaughan, Knyvelt, and
Phillips. In tlie l>and, which was led by Mr. F. Cramer,
were Messrs. Lindley and Dragonctti, i&c. Mr. Mutlow,
the otganiat of the cndiedral, conducted.

FIRST DAV.

tiiaiid t)euiin« ii To Ileum J '
ADtham^-ttsssadislM^ . 7. n.,-.
Uoet," The Leal ahdiMMsnehbr } * *
CaneaiieaAailhsai JtaMlW.

Digitized by Google

THE HARMONICON.

aaCOND DAT.

The perfonnancc coii-.l-.teil of ;i sflprtian from Handel,
Uaydn, &c. ; amount which are the toliuwin^:

■What (hoogli I imce,"
Battle of the Aiureb,
" f 'wut Orgi»«,'' .

" itataq, O CM oC Oatto,"
•Ahdhnhto" .

* BolliDK in foamini; Biltowa'
•With v«nt«n»cl»«l"

* On fill rhiy plume*"

" In spltTiilour litight " .
" l.i<'f |>t r Ami ilee|>er itill "
In 5» iT«-«t hannOfiT .

*Holv! Holy!

M in Travis
Mr. Bnbam
Mii> Stephen*
Mr. Bmhui
Mr. KoTTett
Mme. Oiradori
' Mr. Phillips
Mme. Canuiori
MiM Stcphoni
Mr. Riiili^ttii
Mr. tlruliam
Miu Steplirn*
Mix SUrphvot
Mr. Vaushn

Ilan.M.

Ki'li.ip.

}l.,ti.UI.

UamU.

HtmM.

Cimarnta.

Haifln.

// «;/>/» .

Haydn.

Ilriydn.

Handel.

H aiuU-l.

Hamlel.

THIRD DAY.

THE MESSIAH.

Thjbi niblitne Oratorio as iLsual attracted the most nu-
merous attendance. The doors were opriiwl at nine
o'clock, uiul l>eAire ei^ht, luiinhcri had ailliLlcil rnuinl
them fur admittance. By ten oVlncIv \ct\ st-at'- were
to lie praciircd, although the pL'ifur.'Hiitx o Aid imt ooni-
infiiL-e till eleven. Two g'alleries on each -;ide of tJie choir
wi're reserved for the friends of the ."itewiird.s, capable of
holding sixty Demons; they were occupied principally by
ladies, degaoUy lireased. Among the few gentlemen in
tU.H part M the church were the Duke of Bwuiiorl* Earl
Batliurst, Lord Eldward Somenet, and tb* llacqiuas of
Hie tUanmm of lamiamm wm wmg the
.WHOM who otUnikd tlio aweting.
The cathedral ««s so extremeh tbnnged, dut the high
vanhings were nearly filled, ana it waa undantoo<l that
tht ri- w crv about 1,500 present.

Ill ihu evening of each day a Concert was porfomicd at
tlie .Shire-Hrill, :iiul i'\lremil\ well attended; imrtiuuliirly
on the ThurMlay, when uywurdii of 900 pcmouii were
present. Iko OOywdflM lA tbi cathedral door wens as

under:

First Day
SwxindDav

£. t. d.

876 17 7

S48 7 «

ft 7

JBU 10 8

lelBg li».ad. mm Umb wm wnond «•

ftolival.

lb lie Easnm. ef tie HaaMOMicoir,

Warwidc, Nov. 9th, 18S6.

Ton correspondent's account of the late Birmingham
* 1 FeHiival has afibrded much aatitifactioii to many
off— rwd ei ain ihieqiMrtot; Hie iapertiei, Uhn^ at
«M MMtltaevriU* and ftp fMHenew of M> Mute may

mtmmm mm MiwiwpinliHl But when be »-
daims against the practice of singing the same favourite
ballad in every town, where musical nieetine<i are held
during the s.imr sca-^on, he seems to mo ti) hl.imt' u itliout
duly considtfriu^ the nature ut" the caso. It a sonff is
rendered ptipular hj tieini.' -^unu: with apjilanse ill Lcindoti,

the good people of York, who have had no oppotttioity

ofheoriwil,aalwil]j etillbr ft. Bel
the iiMiMMito of BfcwiwgfciM, Triio law Mifttr bewJ ii

in LoadoB nor bi Torit, we anl move derfnxu of bdnp

enabled to judge for themselves of its merits. Thus it
travels from pliM» to place, and no audience hear it for
a seconil time ; though a few of tliosc miisicloTin^
individuals who never miss a perfonnancc if they can
help it — amongst which your corre'^pondent probably ia
one — must necessarily listen to its frequent repetition, and
feel, at length, heartily tired of encountering " Htbe here,
Hrbf there, Htbe everywhere." To them it is totijoun
perdrii, but, neverthelesa, as unavoidable, as it is for %
nightly pUj-goer to escape witnessing the tenth or twen-
tieth perfimMnee of a piece that haa a nu.

WhUenqriMKb in • j bud, I «U teka iho ISbw^ of
making » Kw nomfci OB — irthor nd^Jcel eauHetad iridk
our festival.

Though no traveller, yet I believe T am as free fionk
national prejudices a.s any tiiu' \\hi> Iia i r i^M d the Alps,
or traced the Khinc to il.s sounc, and am a.^. willing to
assist in encouraging talent, let it come from what clime
it may, as if I had passed half niy life in visiliii;; the
ilitftTi'iit L'a])itals of Europe. But I love tu '-ee ju^tiLe
dealt out with an equal hand, even in s.o trifling an otfair
a.s a provincial concert bill ; I therefore felt some regret
while at Oinningtiam. at obeenrmg so undue a prefarence
given, in the list of peilbnnera e*ga(ed Hnt tha aMotfav*
to a foreign Im^, am tar» of
whose eampmUmUlnit aoght i
to thaat fha awnadwci f tUafc ViMg of 1
Caradqri'e abiBtiea «a » rii^ of Itaflan and IVencb
nuLsic. On the Opera atage I admire het^-if the few
opportunities I have had of hearing her there qiudify me
to form an opiuion — 'Ss the t^est second-woman that has
appeared for many years*: but tu place her above two
such performers as Miss Stephens and Miss I'atnn ; to
di.stingui.sh her by larger lellers in tlie lulls (a matter nt no
little conae<|uence in tlie eyes uf the puMii ) was u j)ro-
ceeding aa ii^jurioua tu her, as derogatofjf to them, and
drew UKlh the aaimadversioas of ntny napartiaU «ell>
judgii^ ^Mopla, aoHWCst whom wece some of (be noat
zealooa pal i aai i eia «f the Fesitval.

iaH»8fa(|oars, 4c,

I Am Amstcum.

At the final makin^-up of the sclxhuiIs of the last
Birmingham Festival, it a|ipeared. that the total iteoeipl»
anunmtad to ^lOOeS lie. lid:

QUUIY C0NCBRNIK6 THS DOUBLB^TKMt
HAKK

By means of the pedala with ikiuhle movement, the ham
can give any ooe uf the seven masical sounds, flattanaiC
sharpened, or in a natural state, as required. Xb <
uin thebcatmethodof tiuiiiff tbaaaaouMi^iftiai
to know fint the esaci nHa«|Ni-HHNMl)^ T
partial of a»alriag» at detaradBod by the 1

— for the flxad Mnftoass. Pezfaapa aome maaufaotnrar
would furnish these particulars, if solicited in the Har^
maniam 'i In Dodd's harps the »emitone« are fixed usal-
teraUiT} batiaBawd'ayMniaapNwraf ad|aatment

SSaao.

• w« rather tMak chat MateeCiseai.

hail been, for a Tear or peaL ee a/M Wt

uniicratocMi coadiiioa 4ai sM inil aot tdkaa
pads^iEMmr^

Digitized by Goo

YBB HAKMONlCOir.

I. Let Channe* de Vienne, Ronosau Buuaxt, f«mr ie
PiAiro, cempote pmr J. P. P»u. (fiamm AMiMB ami
Bwh, aoi, JUgwt Strett.)

t. Bm Oonuioili, m VAta F|fBri% pmn- /« Piano-
FoBva. ^ Mams 8cnus««m. (BaoMy n4 Con

3. La Rose, Prki.i dk, RoMAVrB ami W;tLT/, /or thr Tuxo-
FoRTR, ijr Camillb FLiriu (Cock* and Co,, Prineet

" A TIT LB is trngfUaf," m Pdf a^i ; bet what connexion
theiv rs betWM* th* CtoWM of Pmmia sad the rondo of
M. wo ai* M • lOM to piiPK-i. It is tnie that in an

iiitrixliictory ada|(lo, he imerts the iiumt' cif Haydn, and
Beelliosfn's also appears in llie lolUnrini; nidviMiii nt ;
fhoiiijli wilhnul any assigned reiijiuii, and we hn\e in vain
taxed our InLreniiity to fimi one. If quotatium were
meant, marks Khuuld hare pointed otit their extent; and a
marginal obaervatiou mifjht hare stated fhm what work.
But compoMrB are sometimes as fi-ugal of their elnci-
iatlo M aa titey are prodigal of their noteit ; witness tlie
MnkhMUM to thi* pleaa^ whm « J. Uayda" m ptend
«illNat • MUtary syllabi* of «qllHHlia% Md ik *•
am jag» wm Oad rfx^Mlaa li » ala^ hm. By ihe

3^ kair w a— bI| Imtiaiiil it H to naik admto, and
• dowMe d— iMmtmtawri ! Andante and Semi-
4fa mn fl i a t la; a quicker movement and longer notes —
would in most cases answer exactly the MM piapoie,
and l>e ten times more easily read.

Tile snhjfct of M. Pixib' rondo i-i fiill ol' \i\uiilv, and
gaiety is the characterrstic of the v'hfle ; Imt a wunt ui
unity is a ilfffcl in it uhith cnnimt l>e deiiiod. It is u
collection of passages, witii a inotivo rectirring at inter\ a]it,
rather than a descant on a theme: hence a want of relation
in ita parts, «nd an incongnrity in the e(>m{M>!iitioft, taken
dtogMMr ; though detached |>ortion8 of it arc, in ihem-
celres, masterlr and moA worthy or praise i ttw ccun-
tnenceroent of tibe adi^iok partiadariy. TUa la a Mffliat
ptece. only lit tx superior perfbrmero. bat tkt dBcoMe^
wWch aw anaittvua, erefncMcntal not te tei tl oii a l : iadee«
the author seems to have studied (and thereby baa shewn
hi!> good sense) to render his composition as free from
impediments aa Iha aatan of hia gwiial daaign woald
admit.

Mad. S^^mnniuTska's two rotilloHi NfuiFG nearly ex>
pert u plii) c r to cxn iite them a.s Uie foregoing rondo. Her
COmpositionR drmand a ]aTffv, pnwcrful hand, and a good
Kulrinilt). Though this niiltlicatiou is another proof ol"
the iiuthnr'ii ta<tte for, and knowledge of, faanMaiy, 3fet a
want of light and shade is apparent in both the movements,
whidi resemble eac^ other too mn«^, and are, to say the
trath, rather boidenng on the nonatonouB. Iliqr are
. OMte like excrciaea daa daneei, and nil! annNr Ike pu^
poKof tfaefomeradminUy.

No. 3 la a mere Irfife, ftwr jpam in length, ibmiad ef
Torjr oomnuM inatcfial% aad adapted to the IriaaAa oT
jonthful petfimncf*.

I I. Brill !!. Leg-acv, a DlveRTiviE>TO for (be PlANM«FoaTB,
founded OH favourite Iriuli Airs, compoied by T. A«BaW*
UMflt. No. S. (Latour, SO, Xitt Bond Street.)
9. The Ib^nai Ayaph. a DiraaTinR^TTO for A« leaie, wUk
am aMMMj^ataflrt arf Mitmm, fittktVam, kg Wvuum.
Liir*, Sea^ Op. Si. (Cbmeati, Cclfand U CeOnd. Claap-

tide.)

3. "Are you anpry, Mollirr?" air from RisHOP's Allddld^
with VariiitiuiiD for the I'ia.Vii-Foktk, hy G. KlAtUUUtA-
^OouUiag and U'Almaiae, Hoho Stuart.)

4. "Hetttraptoidt'* IVhm* Aia. wM VarialiaM >W Ike

tame, composed hti the tmme. (Latoiw, Ntn Rontl SIreft.)

5. The Horten. «;> Irish .Mrlodt, arruHgtd with Variations
for the tam-, hi/ I'HOMAi VAii«NTiiia. (Same puUitker.)

6. DiTSRTiaaaTO fir the toMte, i» wUdt ars intnd»e»A
two faeouett» lOi*, e tm p m i If Jamw CAtamr. <Baatt

puNisker.)

We class the above pieces together because they ore alt
built on simdar foundations, — popular airs ; are adapted
to the aame deaciiptioD of peribrmeia, namely, those who
are phaiad nilli a pretty melody, ampUflad bf a A«r
•iaipla variatfana, and who do «at aaeriftw atoeh of their
time or aihauat any large ihare of their patieoee in piae>
tising : ra a word, — to such players as have attained that
kind of mediocrity which is now to common, and which
so iiuiii), from tlie ulwve-mentioBad and Other eamai^ are

(Itxiiiud iu \t'r to riM; aljove.

Uiil in thus classing those publications, we do not mean
to jml them all on the same fontini^ in rrpartl tn merit ;
that would indcetl be actintr nirustls. with rt'sprct to the
first particularly, whidi stands at u considerable distance
from the others. For this Mr. Rawlings has ciiosen the
patiietic air, M'Fariane'e Lamentation, and the licoixtiful
melody. The brotcn Irish girl. Tlie former he has
ciTeu arith ooly auch additions as the improved (aato
fiir hannony now requires; the aniaifed hj

preeeSdT'm rigit, by a riow InUodueliau, in wUdi

Oluek's beauUfhl march m .^feeite is not tngotlea. TUa

is an elegant ernnpilation, and will please very generally.

Mr. Linjr, in his pre-wnt divertimento, Oprru iwi-isfif-ini'-,
ad(lr«'S'.("< himself to t)ie many ; he has doiihtU-ss Ibuud
out that «( Here friendly to his in1i rr-.ts in ror mniiiending
him to ahcr his plan, for he has nuw iirtKiiurt d \\h;it niun-
Ijers may play without prevn ni'- l.ili.mr, ui.d \\\r.d ni;iy bo
immediately understood by fiiicli a^i iisttn. His rtmdu is
very simple aad imooth ; the Introduction to it is much the
same, and if we discover nothing in either that colls for
CAtniordinary praisBi yet we tiud no cutise fur censure.

Mr. JKiaUnMurk'a two publioationa may sell, but will not
i uMMJ itaHna Ma name: they aia vaqr namby-pamby in-
deed. Tha fhatia tnaqMead into v» whfai iijune lA
materiany, and fo less exeniable, liecanaa tha air la qnlto
easy emm^rh in thr original key. He does not gi\-e a
single bar ot luiruducliou lo citbcr. But we have moat

8U8

Digitized by Google

-992

THB HABlfONICOir.

to complain of Mr. IL's neglect of the rales of

Bj. In Iiis second niwtion to Bishop's song, he

TMohw • Aarp 7th by a 9lbt InilMd of the octave or flat
■mayitltaoiilf kgalmcoMm. And in the French air,
m Ibd the fbUowiif MMlmaon offbe durd of the 4th awl
ted:—

Bjr meicly inverting the last chord, making the a the
lowtst note, the discord would hm been prapafy re-
'advedt and the «vU avoided.

' ifo. ft eoniiita «f fbnr riiait, ««7 nrialions on an ex-
pressive Irish ndoAr. Conaidcring die piieei a few
introductory bars mig^ bave been aHbided.

The si^th uf these ia • very pleasing divertioMilto, in
which " When the rosy mom," and " I've ktiaed and I've
prattled," twii beautiful airs from Shield's Rorina, are
worked up with grcut taste into a most agreeable piiiuo-
forte piece, that will t»- tuiiisd easy enough for almo'.l any
player to uiulcrtakc. and yet so judiciously mauajred as not
to appear trifling:, or unworthy of being heard by (hose
mho feel the beauties and uudenrtand the meriu of more
daborete

1. EruDBS pour It PuMO, eompotiet par

(Euvi c 10. (Ewer and JahaiiwiBg, Bm Ckmrtkumri, md

883, Regent-Strnt.)
8. DoiJZB Exsaeiew f$ur fa. PtiiVOb eompotifi yar Mad.

Mamb SsmAiraimi. fnmkn pjaaiite de LL. MM.

letImp«ntrieeadet0al«»hilhH«ta. (Parlr, ele*Hanr.

ruf Sfure itn Pifift Champt.)
8. Twenty-four Okand Stidibs for the PlAKO-FoRTB,

eompmeil ami ftngn-cil l>\j lh.SRr HkRTI, rcPiW and
I md»pUd for the additional Keyi, Ay Ma. MosriiELBs.

(Geaini aed Ga^ «V JVfocM Stmt, Hanottr Square.)
4 TUi^^Afte BmmUM, er jleii laHMdnetions fir the

PkAXO-FovHi *y Eaiwim Sihmi, Jan. (Goakih^and

irAhnaiH^ to, Me Xfnew.)

All modem oompositiona of the above dcacription are
indebted for their origin toCramei'B Stodioa*. No soooer

did (liat admirable work appear, than the great Bale R met

with incited otiiers to similar attempts, and thougbxSOme
few of these efforts shewed the ability n! thi ir atilhors, —
whose names, indeed, were a sutlicicut jjii -.iuutoe lliat
nothiiip; disreputable could protL-e^l from their i)eiis,— yet
it wa-< obvious that little had l)ctu left tor tliLin |o trlean,
and that un unconscious imitation, if the cxprtssinn may
be allowed, had been the unavoidable consequence ol
their entering on a flddvUdi bad ebtedjr yidded Ita beat
pndnee to an caillar

But within the Ia«t four or five years, innovations have
been made in the style of piano- fbrte playing; more tlii^hl-
of-hand has been encouraged, and a greater degree of
btiltianiey has prevailed. This has generated new pas-
Mgee; hence some of the exercises produced within the
same period, ttbibit ifovelUcs which surprise, though it is
tmpoflriUe fir an impaitial judge not to feel that courtesy
alone prevents nwy of dwn fimn being condemned as
downright absurdities. This latter rmnriiL, however, it
not intended to apply so much to the works now indv
notice, us to other publications that have appeared here
and in Germany; in these before us we find difficulties
euoiiEjh to appnl stout-hearted practitioners, but only a few
of those extru\agancies of wUdl Tatiooal pSOple bBVO SO
much reason to complain.

The Eludei of M. Schraitt are in three \>m\.\ published
separately in as many books. The fir^>t contains prepara-
tory exercises, calculated to give an independence to the
fingers and an equality to Uicir strength. These arc fol-
lowed by twenty studies, progressive as to difficulty, and
moderate in length. Tlie acnod part oonsiats of twenqr-
nine, rec|uiriug more eiecnlian, and gtealer powers of
hand. The third comprises ten. tOgeUKr with n '
and a toccato : these demand still more extensive i
and are intended for only the liii;Uc>,t class of performers.
Great i)rui-t« is due to the uuthu! of tJiis work, for the
judicioiis manner in which he has planned and executed
it : the passages arc such a.s occur, not only in moilerii,
but sometimes even in ancient music, and train the hajid
as well for tJie rapid flights ajid wide skips ol tl»c sonata,
as for the intricate combinations of the score. The taste
be displays is of tlie legitimate kind, derived from the only
true source, an intimate acquaintance with classical com-
positiaiia} and his harmony is founded in the same school*
We huart two short examples of the.se staidke fi«n the-
(illy-flflh and fif^v-ei^rhth. in the third boolt.

Moderato, cantnlnlf. Q .

• It sMv van lihsly bssiikLflnl ■ s lw s U s a B af hV Jawift i n pmr
to a&min m uC tHi «• <ia a m flw Mm af Ms stodto*. Bach
an aMSflioB «e dteald be vaMm to May; bat the iaatiument* for
wiu^tliMe maaien wrote are wo oppotile ia cbaiacter, — iIh- atylo
and eaccuii"'^ «f the two workx are to wMdy diffeicat, that we
camot belli d-. mImih; lo living coisipqser amch ef the
wfaM) an inventor om; juMJ; cUin.

We feel some regret that the comi>c'ser should have em-
ployed so outrd a measiire as the foregoing. The simple
taci is, that his composition is in six-eight lime, but he has,
somewhat affectedly, thrown four bars into one, and in-
vented a new denomination, as unnecessary as perplexing.

The next ia oonstracted in a very different manner: the
pcribnner who on esecute it with Uie delicacy and tseSng
It requires, has gained the best quality that a piMwphyc*
can possess, — expresuoi*

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THE HARMONICON.

948

Madame SnmaiKiwska'a Ezcitises an AiU of merit,
both as relates lu the object to which thry are directed,

and ns rmisical compositions. They ate mily nx rint for
the use of those who have arepiired a inn-tor\ <ivcr thp
instnunent, and have slmni;, comiiiatullup: luimls : to ^uch
they will pn)vc most valimble. This is a l<)reitfii publicu-
tidu: thiTtfiire, accortlinir to our ireneml nile, we say k-ss
of it than we should otherwise have done, for it is a work
Ihat under oUier circumstances wonUI Imve commaiuletl
nun of our attention. If our mention of it induce ain of
the dualmn to reprint it here, we shall feel that we have
i W ii ki ad a consiidenble service to the musical world*.
Wo l Ot k i wJ (ke llnrt book of M. Hertz's studies in a
The present, which oonpleles the woric,
traltit of geniuK, thouji^ these are half ob-
scured by the laborious eflurts made to render some of
the passages as difficult as possible. Ainon<^t which may
be menti<Mir<I, tt;<> iu'.i rM r;t\ ini; of the finsfer^, n trick
that, even it acfjuircci, can Imrdly ever be applied to any
usefVd purpose. Who, for inttanec woidd be so quixotic
an to execute the following passage in the manner directed
Ij ^ antkov^H mod* ofnottliaD}—

y ?

For to play the double notes staccato would betray a w ant
of taste; to play them Icifato they must be performed with
one band. 'Die fug^ue is clever, though the extreme key in
wUdilt Lm written savours of ptdfentiy, and will not render it
Tery popular. But it is composed, we presume and hope,
for the nse of professed musicians aiAfi btCtHte, to say
tbe troth, we should be soity K fai dw igialem of educa-
tion, time oonld not be belter cmploysd thea in gaining
tfwtaortarimnaldeilerifywbiAia amalon laada to
'ao thaheUe end. aad whleh, to aequire, consume* tbe
neater noictj of the early tmd most important part of
mt. Music is a delightful accomplishment, and that liind
of it which realty has chnnns f<tt reiusonablc people may
be learnt, if the teacher is a competent person and pos-
MSSes ifond -f'li'^c. « ithnut :inv «eiii'vinir appli<-atit>ii, or
destructive exitcii'i- of time ; tlir latter of which ciTtainly,
ami most probably both, must be the price paid for the

• In lt/<_- niu* ' a1 jjatf *■( uut present numlit-r wo linvr i-iw n i;nc
ol llti-K Kicrckces, as a apecimcn of tit* «ivlc tu wIikIi Mad. S.
asaaw BMNt te*MmMa. We MSiit oil^ we an iBciiaa4 to balisfsy
besMdiljraiBir

meaits of execnttng maay of tiie Genua i
the present day.

Mr. .Simms ha.s din;tiificd a set of preludes bj flie 1
of Studies. As the former, his publication possesses
merit, and may be rendered useful to his ov»n pupils, and
to others. As tlte Utter, it will be a hard tiuk to discover
anTtUnsini

I. Farourile Air/roM n'lNTBR'-s 0;>era, The lalaeiapled I
crifice. arramguijor (At PiANo-FoaTaf leitA m<
ni'menf for fie Ft«Tt, (al lib.) 8. P. Riwimlt.

Books I. to IV. (Cocklfc Co. Princt<! Sfrrrt. Unnnrrr Sg.)

a. (lvERTiiBK<o Jto. arranged for Two Prrt'urmers on tk«
PiANo-FoRTiiif lleaeair. (Grmt aad Co.,M»« AtgwH
StrtetJ

Mr. RtMBAULT's chief study in arranging is, to render

everything as easy as possible. This must unavoidably
cost many sacrifices, and effects are thus lost which,
by a dil'crenl systcni, niiirlil [in ■-orved. But every
description of jifTtntincr is mow amliuiuus of, and moreover
will insist oTi, ])la\iiip; wlinlcvpris in vof^^ne : the desilers
in music must (hcretiire act arcordinfrly. Mr. R. has
done ai» much justice to the composer of this opera as,
tmder such circumstances, ctiuki have been cxpcrfed ; but
we think that, in extending his publication to four books,
he has gone farther than tbe merit of the original work
can justi^. The Ojffirfiit, or Sacrifice liitrmipUt, was
ov<t»pia^ by the jpnaa, aad it fidled of that enooese
which WH ullcipMed: it ww peiftnned. biit dU aot fill
tbe treeaaiT. At 1tennetin«,«csnBt that nine food
things are to be ftoad ia H ; noat ^ wMeh we eoOeeled
together In a finrner number of our wotlc.
The Overtore, as arranged for two performers, makes
er brilliant, piano-forte dnat.

I Ufaly, I

radier 1

1. MRL.tNGu, Oil fttvouriU ain from Rossixt's Turco ia

Italk,/«r tk* PiAXo-FoRTS, byQuuuui Puraiw (C«ck»

aad €«, Ptrtmct$ Strett, Bmmautr E^mmm^
8. "Una Taee" mnd " Eceu! riil«ali,'"/fteaiBoeBHii'»BaTMeie

dl Siviglia, arrvuged for II* PkaWO-PouTa fry Me oamu.

(Same PtMithenJ
8. L'Ultiaio, a Divbrtimsnto for the I'uxo-Fortb, in

tr/iieh IS itUroiluccil " Ricdi al Sugnu, ' from Komim's

Zelndra, composed bi/ D. BavouiBR. (Cadlcutt, S8, Groat

Marlborough Street.J
4. OftAVD liAncN mmd Fixalb, enmpoted for tk* PlAai^

Poare, AyMiss DoTiaa. (Baml«CGn*(Jt«*M'<Wn*<ii

lHooriuhurg.J

M, Camillc Pi.r.vF.i. hati, if xie do not deceive ourselves,
already arranged many of the most favourite uir^ in /i
Turto separately, therefore he had lc»s to select iirom for
hb MUmge: iwncc, tliough a good piano-fiNte pieei^ ft is

Digitized by Google

nm HARMomcON.

not t» likdl to be pqwlar m

r Ko. Sgiir««lM«iM,iiMi BtUtimMM <r

the original ; " Uu voce** coBtiniuiig, we we aho gUd (o
find, in the author's key, and not tranaposcd. as is too

oomtnonly th« ease. Thes-e, "i:h a sliort Intrtxiiiction,
moke a most n^freeahle tljverti'-eiiiLut. liri'liant, yet tint
difficult, and proUy sure of pi iit-rully.

Mr. Hnijfiiier was an industrious arluptor, 1ml his store
of orijfiual iiiusioul ideas w«s mil cii](inu>^. He iiuiiiafTKl
to arnuige popular things ia a popular munner, and this
VMtlwntNmdary of his talent. The present divertimento
ii n eumplification of what we have Hid j the air itself
h wdl adapted, wUIe the addition.i to fi Atn a great
pmato of mna&oa. Itee ii motUag to eaOol in any
put oTIUb publieaitkui.

The March, No. 4, has plenty of anifiwHw^ ftough not
much either of variety or originality; but fa abewy, and
lies well under the hand. It is a new thing for a lady-
composer to modulate into five and six flats, and proves
the advances roskiui; in practiral music. Wr slmuld have
likfd the picff lu'tter hud it coninicncfd anil concluded in
tlic '-tune ke) : the ])ropriety iif tlie rule has never beeu
disputed, and universal practice has confimicd it.

% Grand JoMuw Ornnnw* eew y ewd if C. M. von
IfiBlli, arramgei ci « Dobt for tit PianikFoiitb, by

S.F. RiMBAVLT. (Oouldinif and Co., Soho Square.)
i. The eelebrateM Crori's in Ii I'ruciato in E^ttti, arrungtfl
wilk farimtioiu for Two PF.np<>itMKRi on the Piano-
Forts, T. LaTOva. (Latour, dO, A'ne Hoiui Street. J

'fnt Jubilee OTerture, written by Weber to celebrate liie
fifiirc!i yi ar of tlie late King ofSaxtmy's n lg'n, was |)«r-
fornied :il the Covent (larden Oratorios repeutedly last
season, under the e()mpoBer*» direction, and aftervi'ards
at various public concerlR. It is like numt of his orches-
tral «oik->, !i totni>osition thul re(jinii> to lw> heard more
than once to enable even good judge^t to coraprehend all
its deaigns, and enter into the whole of iu cffecu; Sat ilte
Jbrtitsimo is bo unremitting, that the auditor's attention !»
alniast solely engrossed at first by the mere volume of
Bound, pbyokally considered. Its duurnctfristic is grau-
dcnr, and certainly di« best noda of nprescuting this on
■ k^ediostniDcatfabjrthaafatofiMurliaiids. The over-
ture condndas with our natiooal air " God save tlio king,"
which is beginning to be employed in various parts of the
continent, to cr|)rcss loyalty, and was chosen by Wilier
liir ihi-^ purpose loiii; !)efore he hod turned his (hoiight.x
wotwurd to the i--!e tliut gave it birth. The anun^euiciit
is crwiitahly executed.

The Chorus arranged liy Mr. Lutuur, " Ncl silenzin," is
indeed cclebrjited, and justly so ; it is one of the finest
among the many fine features of Meyerbeer's opera. Only
a part of it, however, is taken us a theme in the present
case; we could have wished thot the whole had beeu
•daipted, and the vailalions omitted, for these are by no
naanB in heepia«. wMi the mljact. thoni^ very likely
to pleaae Uw great balk of amateur peribrmen.

La Salle dApolloii, a colhetion of Okrjian Waltzbs
for the I'lAXO-FokTB, compoted by the motl etieemrd
FoaaioM AiTUpas. Moik 13 t«83. (Weeicl aad Stodart,
I, SoAe iSffiwreJ

Ihb is a coMtilinutinii of the pretty. pleu'-inirNs 'irk. which hus
■MH* than once been noticed by us. Amongut the present

I. FAMTAnA for the PlANO-FoRTB and Vl.)!,i»M 1 : on

Mozart's ^ir, [duet] " Su I' aria, rompoteii Ay Thohas
PowBiii.. (Dorcr and Headerton, 6S, Chanetry Lant.)
% DirN, en lUaami's Awt [eham] '* R^gan ii lamri"

9. Ditto m» HmakTI Jtb^**YtlL dw mtmf
and pMttktd mi aSovt.

TiiR.EE such udmimble subjects as these can hardly be an
disguised aa to lose all thair captivating ^MUtka: Ikuj hsKa
appcand in evory poaahla wnjr} mmtt tt onvM, ae nA>
vantngcoualy aa oa tha atafa^ tat «A« elad in a very
becoming dresB, and Obm ratrsdnotd an the parsde. Into
the drawing-room, and — such is the convertible nature of
music — even into the church. We ftopposed, tlierefore,
that by this time they had passed through as many forms
as the public could desire or woitld patronize. Mr. Powell
howe\er thought otherwise, and hu.s put them into a per-
fectly inotfcnsive guise, though not a \ery striking one
certainly. His fautasius, all of them, will b« played, but
without exciting any warmth in the performers: titey will
t>e heard, but no emotioo will be raised in the auditoi*.-
Tbey betray a sluggish imagination, which defidenoy in-
not awn sujmlied by a little vigoraoa hnitaliain of oOtf
arrang«n. NevcflhelaaB, tiMi* ia ao l«dni«il ftult to fan
imputed to tlxaii, and, as tiia pndnedona of n Vm% aal»
blisbed, much-esteemed violoncello player, no doiAtiililta'
entertained aa to tlio corradaaai of titeir i ~
tlntj

I. A CoUretton of Sacrsh Musie, eon^iUini; of Fifly hto
PmUiu and Hynm Tune* for Four Voices, tic, ComyoMtd
teleeled and arranged by Joski-ii Major. (FdMlihld tf
the Anther, 8^ King Vtratt^ Bkmathtry.)

9. A TIM M ^ Origiaat VMM Tunbb /«r Fa* Tita%;
fee., adapted |y B. B. PoMk (IniHgwaH and titka, SMdm

gaU II iU.)

Of the complete act of Andm-tunea pnUidbed by Mr.

Major, twelve are newly composed, six by Umseli^ aiid six
by .Memrs. Clifton, V. Novello, E. Taylor, and S. Wesley.-
Two are from Mr. liurdner's Sacred Melodies, and one.
from Mr. E. Taylor's collecUoii. Mr. M. teli> us, that
" he has chosen the treble clef lor tJie eounh r-teiiur \oice,
iuid the Imss fur tlic tenor; thinking they will be mure
easily lead hy amuteurs than the c clef, aiKl sliil preserve
the at ; iiisl imies of the score." We quite approve of ttuSf
and .it : :.Uy practise the ume in our own n d s pt at ioHa.
" In the hannimies," continues Mr. M., " I have enden>-
vuured to produce such melodies as may serve to make
agreeable duels or trioa without the air [tlUR ia begfondi
eomprchaiaion] ; and tin compaiB of each put b ■> i
luted, that the whole mny be paribrmcd aa 4|
the flute, violin, (or two viohns) tenor and
The new tunes are all in the true church style, and will
promote the use of parochial psalniudy by cnlurging itn.
repertory. Mr. .Major's organ (or piBUo-ti>rtc) arraiigeaient
is correct and simple, and the work is wt 11 iiroutrht ouU

Mr. Ford's publication is ol a Ncry cheap kind, though
nettt and correct, and cfaieily intended, we imagine, for such
of our chilatlaa bnlhrm as are of flia Hcttodiat per-

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TUB HARMQNICON.

1. 0*T*«nM» Ghtfrj ii|M," «»Nf »y Uai. Ymtin im Vtal
Prjr. Citmpoted bfCU. Hwu. (Wmt Md C«, Mb A.

Jamet'i Strtet.J
JL Rbcit. <iiu/;Aim, "Oht ipeed ar bkrk,'* fA« vonit by
H. ft. Vaii Dvk, eMi^Maii 6jr John Babsitt. (€i

ty J. BARirBTT. <Ooald!o; awl Co.)
4. Run DO, No liin^fr the ton-/ iif tbeL|4c

jMKed, smd puUiiAed i§ tk* Sum,
«. '•TtokmlennrB.-'JMirljrlfr. IMmi, ttFkmMlM;

hy JOUN Pahrt. fljidxir, >V>, AVir /{one/ Stmt^
■* To Uw canflict'a hicat 1 j^o,' do. do. do.
7. lUmw, **0; tell me no morr," tungat ly Mr. So-

Balias, "Low b a km< Bttia Iwy." maf •< Ih.. iy

Milt Love, eompMed mmt publUked ht/ the Same.

When we fint heant " Cherry-ripe." we, in cnmoioii with
lOthtn* tNnNi|llly pkoscd by the aur, and equally ^tified
ihy ttoDMBiier in which it wan delivered by Mad. Vestris ;
IMmh at the Mune thne convinced that H wee not new to
. Um mumitaag it is print, o«r bdlef woh
Md» Mt pot being lUe ta nmmlbtr flw boos
•o inick iwcnMea. wc UA h t«. ttUUiv tint

tbe ori^Ml wmU AariSj "eon* mMddo^ into our

memory. AoMldinf^ly, no lonfi^ time elapaed before we
traced it to ■ ballad, by Mr. Attwood, publiahed aome
twenty yean b^> by Moiiaani. under the title of " Let me
die !" L'|M>n comparinff the two it will he found, that they
are ahnost one and the samp thiiitr, ullowin!? for tho
diversity which .iriiics frnin tiissimiliirity in the measurp of
the poctrj, auil (or tlit- rL|)flition of the uiotivo uud words
in thill by the later claimant. So near an approach to a
copy cantiot have erif ftwi accidental coincidence of
thnu/rht : the one must have eno^^ndcred tlie other; and
Uiouj^li wc an fiur from aocu^iing Mr. Hora of wiliiil pla-

Suum»jM It mwM be a bard taak to oonvince us that
• air anM te tmi im^ at aono thM^ probably long
ago^ left its image in Ma mmatj, thou^ all ciraiowitaBcea
eonoRfning it may baiv wbolly eacapcd his mollaction.
As it stands, snme asplanatioa ia due on the mbject, ibr if
an occurrence like thi» — which we are williD|r to believe
Vaa uiiiiitt'iitioDal— be mifiimd to pass unimticcd. people
without n \ery sensitive conscience may take ndviintnjfc of
it. Bin! rinisical cnpvrii^tit lani out Id lie a piiri' tiction.

From Uif i>h(i\e puMication in Mr. Horn's uuine, the
words (if tliis sjing appear as if wriilcu by Mr. Poole, the
author of Faul Pry, in which they are introducad. But it
alNMiM be known tfciu they are fay an andeat poet, Herrick,
and at* to bo iband in on* of tho eoriioel pogeo of his
UssputiMi. Mr. Pbole, or Mr. Hom, boa aonewhat
aktndlhHnt m Insert a laHhfiil copy of tMapwltf br M e.

CUKUniE RIPE.

CHiaRiB-RiPi, ripe, ripe, I cry,
Fall and fairo nnt-i ; coini>, aad ba;.—
U to be Tou aik me where
Thaf do* STOW I aenrer, ihaia,
Whaie wif Mje't lifts A>a laule,
Than'a iw Isad, otehacn-ifei
WhaeaiJaBlaliana ftdly aho w
All tiw yeaie wbcce diNrfce |fov«

No. 2 i« a composition of merit ; n denif^ is perceptible
throughtMit, and the words nrc well expreiwetl and ac-
cented. .\ pu'->^;i|rp :.t p;iR;i' S, "the faititiufj winds," in

which the melody and base desccud, while the accompa-

niment ritca, oaeh In tba diatonic Kale, is quite new to us,
aad not less pleasing than novel.

Nos. 8 and 4 are very mietjual to tht' rortpniii^ : the
mclo<Iies are common, and in tJie aetompuiiinionls are ttO
re<lecniiii£f quiditics. Thp third tells of a nymub betrayed,
dp-'ertp<l, iind despuiriofr. Another swain aimH, but bar
" hopes" being "broken" and her heart

" — — ' ' prown dry,

TliR sole thing the pray j for was that shr m'vsM die."

However, the " kiuduesio" which the new-conter forced
on her, in thp shape of a Un OB her p«lo Dpo, "ailM

leant o'er her l>ed,''

' soon catoi'J into rest

All Despair'! cold suirircstions that banntcd ktr I

Such tlie lay, and such tJif moral !

Tlic four Rf>njrs, Nos. ;i, (i, 7 Mid s, ciinfinn what we
said in our la.'st, conterniiia; the ta<-tp for nm.'iic at Vaux-
hnll : while udvuiitiiiif eserywhere else, it is stationary
there. On entering the doors we inlierit, for the time
being', our gnad&ther's ears, and find that the present
poets and conqmsers to the gardens are u.\w endowed
with the style of their prerleeessors. This, perhaps, it
just aa it shjould b% in relation u> this charaiing pUce, ao
at least wo ham bnid it ingeniously aiguco. One of
Mr.Fbny'a •ongs intnxfncai • hno with Ua **fidchkNl
and ■hield,'* listening to the eaamand, ** ready ! pmenti
fire !" To say nothing of the anachronism, such word%
when ** married" to music, make but a jarring union.
Mr. P. piisM->ses talent for melody, of which there is a
good deal in the>e soni^s ; but the accompontments might
he impnned, partii^-olarly by a little mOTB aUtBthH t^
what contrapuntists call coiUraiy motion.

I. Ro!*DO, for thr \\\nv. on TlisHop's air, " Bay a I
eompotnl hy N. ('. IloCHs.*. (Oouldiug- and Co., gofo

8. The Alas, " Resntiful Arc the Aeldi," ami " Tremble, ye
Oenii," fi-om DisHop's Ahtddin, a in m g ti fir tkf tbSaP
«y«U&MBC (Smu PuUUkm.}
S. PnrmFkaon^lleRAnr, faliwAieAif Mne4li«/taa

AladfflB. wfinif mi fuWdud ty tht Smm.
4. Two Aias ff9m Sram's Flanit, arraafad Ar It* Babt

and Gow J^'ocw

anil PlAKo- Forth, by tk* 8t»tt» (pocfcsi

StrrrI, Itannrrr Si^uarr.)
3. CamiJle Plrvcl s In ricniii r tkin' n ml ft/ani^/'mm La CizH
Ladra, mrrangeU for Ikt HxM by Me State, (Samt Puim

No. 1 is (lie ptipulnr Viuiihul! sonjr, « Memlw! hy a few
pasiutges of the commonest kind, and introduced hy a
prelude that any tyro might have produced, l)eing quite
of a piece with M. Boclisa's additions, Aiul this is called
composing!

The second is better arranged than the first, and excites
more interest. No. S comprises '"Hie ring! the ring,"

The d^ of tbe vallay," and tba Fuir^Mank, simply
adapted in an easy manner.

The fourth consists of a cboms, aad the pokeca from
Spohr's opera, making a brilliaBt duet ; but the pleaaing
part of it is formed by the polaccu.

No. 5 is a curious sample of llio tradt- of iirrangenieat.
M. Camille Pleyel adapts RosKini's air. ' Vicna tra queste
hraccia," for the piano forte : M. Bochsa tlii ii arrunges
M. I'lcyel's adaptation, for the hari). hy altering some two
or three dozen notes, and each claims a profMrtj in the

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THE HARtt'ONlCON.

246

loneetiv* puWication*, or sells what he calls his riprht in
" i; dM ml conipflscr'<! name being— as in the jire'^piu
-wippmBwl , while luge conspicuonis lettrrs
I the naroet of the unngers ! — This is a short,
dc ptee^ ud voy little Taried from the

No. S may class with the foroMr; ft is easy, and the
accomiNaiiimiit peiAeUy aimple, Ihmigh dMwy.

[The Rcvii'ir of the 2n(l ainl Inl \'n:iiTnes of Thk Fit«-
wiujAX Mlhic, it obliged tu be deterred till ucxt number. J

FLUTE.

1, Jotraif At Bi Flittb. f*« Fhirl&ft 3§ami$at, e^ntitting

tf the most bri!li:iiit pansajei /n»w Concertne, Pdlanaiac*.

Aire, and Opera Mu»ic. No«. 1, 8, 3. (Ewer and Johan-

ninjf, /Jottt Churchr/anl, and 20, Titrhhnnir Strr^t.)
9. La Daaie lUancbe. Mt /er lAt Flute, bx/ Charlkh Saist.

(Codn, K. Frbtm* Strtl, Uanaivr Square.)
a. Swia»AiB.ii«»V«»htl«ii/orfA«Pi-umf<«««'<w«««"-

panimfnt for the PtAHcFORTR. 6y M. C. IVIiMm,) mm-
hij J. Hewitt. (The .Vi.v.j- j
4. Majaeder'i Le Sentinelle, arranged for the Flutb and

PiASo-FaHniylUrwBiiDAMauHU fTleAnw^

The Journal deVhit pCBWRscs u most t.nkiii)r exterior ;
it ia in quarto, sixteen pages iu each iiuhiIht, very lu-ally
eiqpraTed,and at a moderate price, (three shillings each No.)
the present exorbitant charge for music being consiikrcd.
Many excellent movcmcnte, airs with variations, uiul
ftMHrate pieces frffm ItaUan opentft by Kufl'ner, Berens,
KmMr,lr«gl, BmiIiI, ftc-, appear la this work so far oh
It hw Moeeeded, iBOit of wniai an well selected and ar-
vanfea fi>r the nntmnent.

Mr. Saust's is a very agreeable, easy adaptatioo of the
Lest things in Boicldieu's femous opera.

We are c nntiiiuully [juzzU'd by musical tHIe-peges; not
half them express what the uriter intends: No. S.for in-
stance, where it appears, tliut Mr. Hewitt is the composer
o( a Swiss air. This he could not mean to state, it being
the well-known " Da bin i' auf (I'Berg aulh gang'n." Mr.
.H. has tran^^osed it into c, and added six brilliant, diffi-
cult variations to It) wWh Mr. WOson has flmidwd «
^ple and easy accompaniment.

No. 4 b OBOthar blundering lulc page. Lt Sentinelle
is not the cooapoaiiioii of Mayscder ; be wrote variations
miitliMrtliaTioHii»aiid M.DnHlerliu adapted theae to
fha flute. Ihcy require a fliaUnte peifinnwr to ttecnte
them, in whose handa aona of them wfll pleaaeb and eome
sutpi s< The acoooqianimentmay be undertalnB by any
practitioner of two yean standing, if a goodliBdatonly.

OUITAJL

1. Diilcc e'l Utile, a Milangt of Original Cnrnpontions,
<)-,<rratic Airs, Pntitlos, fTalt^ei, St., ff- Ihv SpAXIMI
GuTAR, Ay Cahuuli, GirLiATti, Daawoux. Kiff.vbb.
Stc., corrected and fingerod by Mr. DerveiU Mee. 1 to 7.
(Wciael and Staidait, 1, <SeAo Sf»an.J

a. Oaam MaaoiyieM tte IMU 1/ AlMi «n«N«d A
HU PtA«»*Fo«n oad Gbitab, Ay O. H. Detwoit. {Tkt
amt.}

No. 1 is a vciy neat, pretty work, of two p^s to each
amnbcr, in Svo. The Ant lix nnmbets are all by the
sane compoecr , a drenmtanee wUdi nlher shews a want
of taet fat at oltlar or pnibHdicr; 1hramely,iii»MAbMf«,
variety Is the flnt fhing looked for. TUs pubHcatioii is
Intended for perfonners in general, foir it is by no means
below the notice of good ones, or dUBeolt for those who
luiTe not yet liaen abore mcdioeri^t

^tet^n judical Hepoit

VlfiKMA.

Karnthnerthor TketOtfil^lf wy Is it I gW S ysil aCCOWat of
Sirnor Uarbaja's c ua niiea c sa i e ut of e p eretleas hin» er radMf

of DapoffSt for he b the gnni aeent in die busiaess ; bat I
onltted to aodee the inproTcments in the theatre itseir, wMch

has become wi much altered fur the better, that it* old fre-
queiitent could scarcely recofniise it a^in. The tkeavv orna-
mental work that incumbered the interior lia* disappeared, and a
net ofli^t and elerant decorations hare been uibttitiited in
their place. The front of the boxes ii adorned with rich
arahewiiie work, intemcctcd by ban-reliefs renresentine »uiue
of the principal «rf ne« from the m.-ister-piec«S of Uluck, Momrt,
Spiiiuini, I'iicr, Mefiiil, lln^iiii, :ind Cherubini. The lower
row lia» it nerii's of -i]li;c. t« rrmii liiptiro Iphij^eni-is, fn'iu Tilun,
Di>n Giovanni, iful tii.- Z lu'M rli tc ; tlir otlier rows in titc-
cc*iti<m are aJuriii'J wUli ni nr» frum La Vcst»lc, Joseph,
.\iliillfs, II M.tv", Z4liiiira, Seiiiir.'iiiiiilc, and .Medea. The
intrriiir ot thi- boxes i» of light jfrecn, with drapery of carmine
mill L,-i>l'l. 'J'he rcKif, parapets, aod prmrenium are of French
^rey. delicatclv t^uuled in ronverfinr Uaes, and all the capitals
are' richly gilt.' The interior is lifted by a colossal lustre^
fonned of a circle of fifty Argand hunps, with globe* of ground
gU«8. br which a Tery powenal, but, atthe aasM time, softened
effect 'u produced, n a word, the old theatre has all the ap-
pearance of a Parisian interior in the latest taste ; and ha* not
unaptly been compared to a homely German daoie, suddenly
rcnomted hy BMMrte art, sad tnaafanaad hito a bmew htst of
eiifhteeD. rib uMi the aeiMrt AiUeae of the Bsalfvanl

JiaJien.

Beside* the piece* I before named, we had a revival of an old
opera of Wiegl, Die Jugend Peter deu Gmsten {The. Youth
of Peter the Great.) which, upon theMliolc, met witli lint a
i-ii!d rrrrptiim. The ballet of ^^^/eJoni/rr in livUu. in spstr nf if*
ont M iTR-rv, \vii!» soon oblieed to give pl.-n i- tu ;iri..tli'T,
entitled '/.rmirr tin. I Ator, by Tasflioui, with mu>>r partly
origin*!, ^in'l |i;irtly m-^'i i- 'l liy 'lyrowetr. The latter i» quite
i la dernirrr Moile, a piece ui pateli-work of the IDO*t incon-
rruoii* kind , a thing in which meet the most extreaie \
excellence and degradation— a Beethoven and a Bochsal
theatre* of ti w s eeead aetec haw peedoeed aelMngweray ec

notice. . . . ,^

I'he sabscription testnnwalal eoncerts, known here by the
name of Stnipuanstgh's iftoNiisoMM- QaarfeMe, which are
coodwitedlvr alat able master, aad eeoMiiae all tht talent eC
Vienna, hawof hte been partieahaly actfse.

The next object, of deep interest to the lovers of the goei
old ■rhool, is Counsellor Kieseweiter s prirate evening parties,
in which he continues with unvrcuried Jeal to revive the master-
piece* of the early cliis-nal I niiiposrri.

In lacred muMC we have been very artive ; ami there is no
deparfuient of the art in which that activity i» more iids antapc-
oijilv employed, whether we look to tiie infrests nf niiiMc itself,
or to the many valuable object* of charity » lyirh nri- arn.iupUshnl
throuffh its mean*. We have had Handel s Solom>»H, with
Ucrinan word* adapted, ami a<lditiana] initnnDental aecoo)-
panimeutB by Knneihni isfcr Mi>sel ; so far lo good: but what
shall « e say, <ir what w ill thi' critic* of your country say, to two
new f liDrii-^scs inlaid into Handel's score? Thi* method of
inwiMMiii; incongruou* materials into those masterpieces,

Iilic world at large, as well as their authors, judged to be perfset
aiidcoDsislentwhohs.«aBBOttotOMtt«agl]Mnq^^ Next
came Haydss eelebnlad KOm ff'ewte. COvbtrs 8e»e»
W«d» ; afnmdJtoaiand IVDmaihy bvellatiilct fiiyftlMls

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THE HARMONICON.

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■ tiw «i«fc w tfit HHl«r-|iim «r tlw rmt comptwr iR tte dhMk
■Ule ; the Mloputt ara ibn oT mek&d nrattawa. aad the iimnet
«r chonl hanmojr powerful and impoMiijr in tiie extreme.
~ 'de* tlwM« we have had two new compuiition* of the
Uad^ vUdl hare rxcited deep interest, a new Mutt by a

ffff VWMHf CtMnpoMr of the mmt of Grortr, and a Requiem bjr
Kaoaliacfiln' Ejrbler. Wi<h rrspcrt to the lirat of thece, ao
hiirn vat the intemt cxritcti by tbr depth and oritriuBlity which
the score diaplayrd, that lipon x recomineDdatiDii from » hiirh
qURiter, the yoiithliil aulimr is to pnircoi!, irithmit dehi\, to
Italy, to cumpiotc his «t iilic^. 'I'ln^ l{i;f ni,m via perfornii'd
in thr l'ha|)el ItojnI. 'I'fii- score jii^t ttecn ptibliiiheil in a
MMv li,iiiUi>me form, nrid ttic activity of the demand fur it is
a proiit iif the great inipressiun it hni. proHiired. Space does
not allow me to particularize tlic viirioui parts lluit tailed
forth aduiiraliuo : I shall luerelr ineiitioii the closing passage,
which pradnead « deep elfe<rt. The caoclttdiiiip wonU of ne
itef •»>«• am— " Qire them eternal rest with taraalnlt, Thoa
wbo art fiitt of companion." The first pwt « tlw nattBCa
b a fiifu* of great ipirit. with a apteiiM UMiopaiiiiwri^
paiticniarif in the violin awfenimt Alter banf UfUf
wrmwht, and ingnUonljr dimiiicd, tkan is n nMn Mak,
and the fMnmiaf elaaiaf parngv liinM a eaalnat «f rat and
nmae, wIMlaafeatlwaiadfaitiiataMwIiiditttaatanairthe
nnject reqaim.

pi - -- -- -- ut

c*.

BF-RUN.

lNoi:r hiKt wc i^ave voii .^riaccnunt of the appearance here of two
feniale iiiiercrs; we have novr to add the d- hiit uf a tliinl ladv,
Madaine Mancbner, wife of the iniiair-ilir.'. ;nr that iiaiiie.
The character lelocted fur the orrJ*iuii vrai. Dcsd^ iuoiia, in Ko»-
ainfa OtiS a, m raaa attempt fur a debutante. Paru of the
perfiiraaiMa wtn aActi**. at Icaat they appeared so tu the
aiABc, which haa bceakttlir awotaOMd toaca tlua part ao admir-
aUf auatained hj Mad. Seidlar, and partieBlarljr hf Madcnoiaelle
Smlaf . There h nothinir so important to an artist, aa to
knowTiow to time thinps judicloualjr. There was a tiinc when
a performance like Uie present tni<i:ht have paaicdoff fimaraUj,
but CTCfjrthinv i» great or little by . ontrnat. Mad. Manchner
' baa a roice of great incllon-netis and C4ininajs, enmprlring' two
oelaeea and a half, and »he icare pmots or an excellent school.
Heraroond charartcr vT.-vi Donna Anna, in Jl Don Oioi-aani,
Ib aoroe SfiTif's lit she was very etfrrtive, partiriilarlv in

■the celebniteil rcritative obliijsto pai(Ra!»f, descriptive <tf Junn'i
violence and niur<ler of her father. But tln ri: were other part*
of the rfiiisic in vrliiL-h the laily quite t'orpot herself, anil the
rritic .il .iiidiene- hefore ivliic Ii she \ni» sing-iny ; the |)<\v!''!iicina
of R'lh-liii scerncil to be s^ddenlv transported into the Dnnnn
Anna uf .M^izart, in a serie* of nml.i'ics iiitr>«]iiri il in one i,f
mott cUaite and elMsieaJ ufllte niuTenicnts of this opera. The
critics were lo much out of humour after tliis, that, during the
rat of the act, acareelj bare juatice wa» done to the lady's
performaaca,

or ottr earioua caaeerta, the am Mat wwtfcf of notice aa
offering some aoiretty waa that «f the bnthin IWeapner.
The great oorelty on Una occarioa waa a caneaftD compfned

bjr M. Uimhach, member of the Chapel Royal, and performed
him on the Bogen-Guitarre, or Chitarre col Areo, an in-
shrunent describeu as barini^ been lately diitcurercd in Vienna.
But we rerr much doubt wlietber it is anything else than
an improvement of the ohl CAWw ktrnKkorda, d<
Kirchcr in his JUaninffo <TWl,pi.4W). It Im
Vol. IV.

of the tana «f tfw CSamo hufittt, and h aaid la i
ranuga ov«r all olber atnngad tnatrumanla, <n aaabliag tta

perfumer to bold three notea at the aabe ttae, to gitra tho
chromatie aeale with the tmrest intonation, and prodoea arpaf*

giaturas in lix parts. Ilut it appeared to us at once clurosy
10 the form and defective in thr exoruttun. The upper
tonea In particular are disa^reealily nasal, m that it is ill
adapted to accmiipanv the voice, ami can certainly be of no
advantiipe in the orchestra. The bearing of this 'inttniiiient
convinced us of an important tnith, which is, that instrument-
makers would much inure consult their uvin interest, .^s wrll as
ttiiir iif rriuiie, by riuplovinir their inpenuity in perfecting the
known iiiu\ received instrunientii of the orcliestra, than in vain
alti in|it* to revive the half-conceptions of our Ijood furef-itlie™,
whith, at the best, !renerallv pmn' to be nu-re ohjecti of euri-
oiity, that are fort'otten when iJn- H'n pity i' panf .

Suuic important addiiiuns have lately been made to our
musical catalogue ; we would instance the following :—Neue
MUMmUiife GuUarrtn-Sdmlt (New complete Guitar SehooIX
by Karl Kam. la two part*, the fnt Ihcantioal, andtbe Kooad
nastieal. The oWeiinikaftteSnt part aaeoatafariafiMMk
mt i ititl n y matter lalaaM to thia inatrument and it* nantver of
treatment ; but tlwjr leem difided in their opinions as to the
judgment and good taste shewn in the practical sclectinn of
pieces.

Introduction and j)olon.^i*e for the piano- forte, by A. Elliott,
Op. 1. The cogn<»renti speak of this maiden production of a
yoiinr scholar of .Moschcles as marked by considerable character,
and full of prmuise.

Six Sunt^i by G. Reiehanlt. Of tliesc tin- f>nrlli Fiirhrrlird
: tisliinjf-song), is much nfiuken of, tor llii' il v of tlie nu'lnily,
aod appropriate character uf the accoia|ianiineot ; aa are also
Nos. 5 ami 6k wUek aM Mtfl of a pMiialie Mni awl fidl «r

spirit.

Six T'lffl Cff'inge (table-songv) for tenor and bats voice,
by Ludwiif iJerirer, Op. 80. — Of these compositions of a well-
known colnpo^e^. No. S, a Tnatf in ? lime, iitnl Nn. fi, Thr
mnanf Andreiu llofir, are piece* of ^rcat merit, and sung^ in
most of the rocal 5o.-ieties here.

La MHaueholie. duo et variations aur dea Thtaea Ruasea,
pour violin et piano, par Lafont. — I'bia compwilioa haa the
rcpuution of hein^ marked by great el^anoa nifcoBnff ; Iho
airaatlMlad are aaid to aeeonl well wHb tbe nedoarfBBntcilm>
raetcr «f die piece, and to be nnHod ialo a eonnatent wbde wllk
great dlB.

ilrfea, a Ranmnee by A. W. Sddegel, aet to music for a
soprano, tenor and bam Toice, witb aeeeaqiaBiment for piano,
violoncello, flute and guitar, by Kari JBtami^TUa compaaition
la rather a mnaical drama tinn a romance, canaistinir of a
earirlyef aira, with interveninr parte for the different instru-
ments named. It it characUmad aa diaplaying mat fancy,
and as abounding with mocb baaatfol wlody^ OB whI B* appr»>
priate instrumental piecea.

Overture to the dramatic piece ^in Abeittl In U.i /i i / (.\n
Evening- in Madrid;!, by J. P, Schmidt. This r.Mn|"pr<itiiui is
well spoken of. A« it is an overture to a sc ni' in Sjmin. the
author ia aaid to have judiciously given hi* music a Spaoiah
chameiar, whicbii vai7 plaaiiiy.

IlRKSDEV

drriiian Opera. — This citabliidiiiu jit lias not vet recovered the
I. .1 lii< li it suHtained by the premature ilentii of it* illi.iitrious
urnaiuent, Carl M.iria v. Weber, and lias produced no no-
1 i-Ity M liatever. The ]irii)i-ip;il iitrriu ti.jn tl/:-. ^f,•igon has been
.M.'iilllc. Wohlbruck from the Darm.^itiult theatre : site succeaaifcly
auatained the principal character, in Her FrtitehiiUtt Prm '
Euryantke, which were repeated many tiaiea, anil at
intervala, as the beat peiriUa ONiBoriala af a coaiMaer i
luaa ia irre|Hirable, and aa ndi fhqr were haaid win adfitfooal
Intareat.

Upon the wbole, fie company here thia aeaaon ia not of the
most aUractirc kind ; there ia not much to Uame, but there ia
nothing greatly to admire.

Itamm Oferu^—'n» ataaea at (Ma hoaae has been prolooKcd
btnad tta and nttatb awiab «« viwaine, to the iaonied

2 N

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THE HARMONICON.

attraction of it« oompany, which k ttvv effcctke. The vrio-
cibal DoTelir ha* been a eumk open by Vaccaj, ntidu La
fitutartUa iFetuiataria. It containi «onie Tew thinK« that tie
«f a plwilng chancier, but as a wb(de it in verr intigniliaiiit.

A ranwitop in tlir first net, and a cumic duct in the ternod,
called forth a warm rncore, but then both these cuinpoiiitionx
•re imitation «, » <■ \m\ i^Iini>«t s^rid plai^iariirot, frtNii Hos&ini ;
but, on eontUcratLi in, \vf tliink tin- latter by no means a safi-
term to apply tom»weiJ sn inr:^r]y
and witli so little reserve. It had a run of sonic nights, and
then suiceedei! Iiv tliiit preaf inanter-piece of Itiili,iii ti' iii"',
till' M<!;r'm'it:i'> Srcr,:-i,., whirh n as Rdinirablypert'omu-il. Aftor
ttiu we hail tlir If'rttatr of Spontini, which had also the aiivan-
tift of beinp eflicctivelj cast.

Araoac' our riaitanta here has been the celebrated pianitt,
lladlle* LaooaUiM Blahetln, wko n*e a coocert, wUch was well
■ttmM. W* lad ako » couoin by KapellMitlar Hunnnel, in
if^itliil > fwy — uiwii iriiuiiui fcyih iwlMaiwii
coMflffte Is A mlBflffi winrii was ftllo^vd \/f % mv MMpAaittBii
«f hia, a brilliant Rondo, in B major. They were both firen in
-the bent manner of lbi« acromplithed maxter, and were Kwarded
wiUi that adiniraciun which lii.i distinipjltlicd taints nerer fidi
to excite. We had al«o the plrasiirf of hMnnp die eetebrated
Jotuinu Schneider, brotlicr of the known eomponrr of that
name ; he pive an oi^n concert in the Hofkirrhe, and fulfilled
everv expcctatiim whieh his hum had nisa^. Suffice it to say,
that. n4 a perfimMr «n th» fltfua. k* li aa* wly m aUtt tat a

pre.it .'ir1i«l.

}tiit diL' iittist intcrcstin^r of our concerts, in many points of
Tiew, \va« that for the benefit of thf (irfeks, or a« ii \ras ex-

Jre«»ed on the bills, " of the sulFerintr Cliristians in thr Levant . '
I was g-ivcii in the Neustiult Kirehc, which was thrnnged to
CXcaas. The unt^ers and orchestra anKiunted to abure four
liundred persons, in which wc have to number all the timt'rate
artiita ol the day ; the whole uader the direction of KapcU-
MoriacoL It openad very appropriately with the
laf Honrtb m Ir to makj^aaea to tha aods of the
m bsmt wha Iwvelallw lo tte gMou iirunflc of
Chrtetlaa Greece for her rii^hta aad Bberte ; aid aatcr suray was
tliiagtovhMtaiaster<>piiH:eperf<inBedaaaniiU«rooeamn. The
•enad mx% aoMlitid «f Naiia«i'a VtUr Vmaar (Lord's

MUNM'II.

OOR oftn/iiB MMOB opened with la Xeigt by Auber, which
was Boir to oaralBKV, aad^eMad soMKh as to sustain seven
aoceessire representationi. It was tueeeeded bv l>if Princtui*
won Prtusenee, a pleasing eonipotitiun, which always comes
accepuibly ; Der Freuekiitx and Oelmiian. The latter is the
coiupusition of liaroo von Poisii, and has loi^ enjoyed an
extensive reputation. It was tranilatcd into tlie Italian Lan-
wua|re twelve years since, and pcrfnrnicd in several cities of
Italy. The two pririi i[ial i liaracters were ably supported bv
SI. Mittermair aixl Mad. Wspeniwnn. After ihi', came //a
Molinara of I'aesiello, /><J.t new Sonntastfiinil (The New
Sunday-child), a nieaiintr Rubjeet, fonniI>>d ui. the popular super-
atition, that a child bum on itonir particular Sunday is endowed
axtnwcdinary facultieR ; Aline, II />•» GiuwtiU, Jokntn

Pmritf and lastly the old Vienna favourite, Au Donau-
giean hm far'tho irst time with very splmdid
M«n«T. fiar wUeh OaaBiHBflMs ample scope. TlMwlNle
pleased moeh, but parfledaffar KuAl^feiJMi (a peavfnidal air
of the Alps), the wwdi ana Mr wt by Baron von Poisal.
After this we had a repetition of Der Freitdtiit*. tofrether with
Muryanthe and Prreiota, A recent melancholy circumstance,
a loss irreparable to the art. and sincerely lamented bv those
who knew the worth and virtues of Uie' artist, caused these
compositions to be Ihdened to with an iutcu»c and painful in-
terest ; and the tears that diinuird many a bright eye in the
hoxf» durinc the p<>rfomiance, wcie called foith» not by the
iu>?ltinir Mraiiis of the composidMi, l^t by BMlaadioly aaacia-

tion!( coiiiierted with them.

A n IV p.i-. e ill mil' act WM next produced, entitlfil A'l'/iri""?
Traum (Louis's Ureani), the poetrr by E. v. Sbeuk, the
nuia by Bana voa Pulsilt wUsn la at a my

tor. It saitained several representations, and was fallowed hf
■Dia ritken Madehen in Uniform : Les Paffes du Ducde Vea>
dAme) ; Lr. Concert de I* Comr, by Aahsr, XMe satMM Jinmm,
Cenertntola, and Die IWoKs^ in wUch M. Ototoar M

introduced several n'-w pieces.

We have had a visit from two singers of note, RI. Beils, af
the Hamburg theatre, and Madlle. Si lil4i«>ier, vrhn is recently ra-
turni:wl frmn St. IVteraburc, where rturinc two years has
filled the tinst character* in the U<i)al 'I'tieaire. She appeared
in the part of Sophie in Sarfine, in Tnucrnli, and // Sloti,
all of which she very ably sii»tainrd. Slic possesses a full and
clear roec f/« petlo. h-ir M vle ii i^ood, and her actinfr D^raceful
and expressive. Her st.-iy witli us is unfortanately to be ef
short duratioa. — M. Beils appeared in the characters of Ra-
driKo in Rossini's (MtUo, aiid Uax in Der Freuehiii*, m
both of which ha flMiad* Be after fto<bajriwiipaljMrtt to
Iter Itorf h arkkr af Sflhaak, hi AaiH^ Sii^ ai
amu(in|f jtaaiL Air 9mi§it mmd Mm$Utrf te Aa '
&play«f Ml Ntalto to fiato adratoaf^ as «all I
aommon order.

WEIMAR.

As we are entering npon a new epodi of oar apera history, it
will be proper to pve yon a list of the eompan y bploneinr to
our grand ducal citapel and opera. Female hi ti^-'M s : .Mail, von
Hpf^ndorf, Mad. Eberwicn, Madlle. Schmidt, .Mad. Diirand,
.Mad. Ilartknuch, Mad. MUller ; for second characters, Madllc.
Loriinir and Madlle. Kladxi^: men sio^rs. tenors, MM. Moltke.
Klein, Sf i lcl, H . Stromeier ; basists, MM. Stronicier, LanKbr,
Franke, Hunnius. The clioms consiutt* of twelve men sinrers
an.l ten female. Director of the chorus ,\. F. Hftser. The
pcrsmiK composing the orclie>;tra arc thirty, of whom M. C.
KbiTivein ('.hi' mnijuiser is first violin ; M Uase, first viiilon-
cellii, ( . Liibi' (the i oinpo8er)first flule, A. Ebenrein, first oboe,
^-r. Ka[M-llnieiRtrr .). N. HasiaMi iiUi the Mtnation of com*
poser, and Messrs. Riemwui and UaiiiB aae the nMiaic<dinet«n.

In plaee ef oor old iacoanodkm Wmm, whhh jam wraiVlft
waabamtto themnadlhayearbcAre laat, «ebaTCaiN«nad
eknnt1hMin^%Ml new scenenr and wardrobe, fa iitmSat
tmeh ovary attanthm baa been pud to that unportootbraiia
flf the art, coirect costane.

Whb respect to the pieces iriven, tJie foliowlne seven are new
to our theatre : Die tieben Mitlehen, Dot Hausffetindr, Der
Vntirhtbarr, Die Ocktenmenuett, Slalterlt Reiu-cbentkeutr,
and Le Ma^n by Auber; Madeth in Schiller's traoslation,
and with Reicharat's music, is also new to us.

Wa* Hautgesinile I* an entert.aining: medley, the music of
which is excellent .and well adapted, but much o\ \\-'- clTei t must
depend ou haviiiif an .ictnr of Seidel's huuiour. Tlic nni-ic of
Drr Untichtbare is from the pen of H. Strouu icr, eldest of
our performer of that name, and contains much that augers w ell
iif fiituri' ixcellonce. />" (>< ksfKmenuelt is an ainusin<r piece,
ami was extrrtnely well jierlurmcd. It is founded on the well-
kniiwn i'.tionli.ti' I'.f the minuet composed by Haydn, expressly
for a ricb II unitarian grazier, who fancied he had a taato, and
who rewarded the murnrrr with one of his &ttest oien in le-
tum for the piece faucribed tobiak Tba whole is nade up of

Eieces of Haydn's mosie, aoAlltt otaMt fa focatioa of eourw
aids a conspicuotts plow.

Aamv our visitant artisU have been tbe Royal Prussian
eoneert-BHaterllaaeraadhis wife, who (ave a concert which
was one of the best attended of the season. He treated us
with a brilliant Rondeau (irtim Mayseder, and a Concerto
by Maurer. His admirable poims of execution are too well
known to need any culofiom ben. Madame Lons^i M^ser
played a polonaise of her own composition, with vnriatitms,
on the harp, and obtained great ana merit«l applause. _ One
of tlie attractions of tlie evcninir, was a voutli from Frank-
fort, of the name of Fcrd. Hillcr. a M-hular nf Ka;)ellmci6ter
HuniDipl, who played a concerto on the jiiano by Rit - (c minor),
in which he shewed the most perfect aciiuaintani i' ivith his
inilnirnent, and no small share of bis mailer's feeling and ex-
pression.

On a former occasion. I laentioned to you some musical

• of-thebiitb-

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THE HARMONICON.

, hk my adfUMet age. Mtof* >■
Two «r tiMM eom|MMitiom h»w Ma.]

Ci&etke, Sic, (Momintr Salutatloll toCh>tttie
. ); fh*" p«>etrjr by F. W. Kicmar, tiw mmic for
. tenor nn<l Kuan, bv C. Eb«rw«in, with an accora-
the {Hano. ( Both in (core, and in parti.)
jpruM *H fFeimmr, Stc, (Morninir Salutation to
on uccuion of OoCtlM't Birth-dar); the poetry- hf

Wdchhard, the inu«i>- f»r n haH
pi^no-forte aceumpntiiiiirnt. a*
at (Iw 8>«4HniH< in Wriinar.

rth-dari; the poetry I
bj C Ebawda, with
*> wiemi— !■> gin

OoB o|ieni
tnie,wiih

lie ■hortlr «»i

ifnMrt

MweapkiBd^^ e«gr, wider ^MW^pWiti

J flf wUchmianMaeoii^er-
abbflimWmoMtlnnlnaDjrjreariritthiaqrfwallMtifni. The
BMMt effective iMiaiail peifommiKe. Imnrver. flat ha* talen place
iMre since my last, has been Hamlel'i oratorio of Je;>AMa, which
Waa g'w eii for the benefit of the InttitutuuM for wiildira an<l
erphan.i. I'tie nuaiber of pcrforiDers, iuMruineiital and viicul,
who a^nistrd in tta petformaiue, amounted to nearly three
hundred, of irhum a coaaiderable number were virtuu«i, who
Tiiluntrered tiieir aervice* on lo important an oceaaion. The
whole ws» uoder tlie direction of J. F. t.ui Moiiel, who Jed
the orcliestm, and to whoiie leal and aclivity it it iniposuble to
render adequate jiiitire. Tlic whole of this ni>l)l«- m.-iaterpiece
wae ^:iv«n entire, with a orrectnestof execution, a couicicntious
attention to the text, and a vi^Kur and spirit which is doiervine;
of every prai«e. In this sublinu' i i.iii[>ii»itii>i,, jxTforim'*! here
for the fint time, an ample opportunity waa alforded to thu*e
who at oaoe loee and know bow to appreciate excellence. «f
teariaf what a trae eompoeer can effect bv aimplv inean*, and
witeot hwinf iMauna to aay «( the adventitiouK nteans of
tta Ht 2 is ft «ai4> wMheNft fWOriiiif to anythinir but the
ai fedinf in hb own heart. It would he iamiwnble for
■t todeteribe tlie tmpra i ai a ii pfodiwed by (he air Dteptr mtui
-dmper ntill. which was adiiinUjr aaaf hj M. Uaaer, fint
•tHiger iif th<< Chapel Ko^al. 8af ani otMr ain also, and a duet.
Were beard H ith deep lotereit; nor was the adaiiratiMi feis
•trUch waj calWil forth by Kveral uf the highlyWMifht fngnes
Jmd choruMes, all of wbicii, with very triflinj^ exceptions, were
correctly and spiritedly perfonoed.

A grand instrumental jind vtical concert was alan pivrn, for
the benefit of her rlmrit.iblc mutitiition, ii> «Ii;rli tlicrc were
many tbin^ of ioteri^»i, hkI some tluit laiiMil a yriiile ; ainony»l
which wan the tollowiui; (>onipou» announn niciit : " Concert uf
Masie, vocal and initrumentaJ, by Monsieur F. AUzai, Profe«»iir
•f the Royal CoB»erT«t*>ry of A!u»ic in Parik, ori^iim! codifMwrr,
-and bfilliaat violin-plaTer." I'be wagv said it was writtrn with
'tta'pn aad iakiar whHh he bad jmt expended hit iaat klx)»ei»ce.
TlfP tta fiaHB of lia «wn caaiposition were tliiis l»eaiicd—
lor the nolia. in which is introduced
' An heroic-romaiitic piece," itc.

MILAN.

Tratrn lUlla Srala. — TiiR Ke.uon lias br>en nrmarfcaUf
piiiouB. NcMT within the memory of the oldest openi<gliar WM
our %T«&t theatre »i> little frequented ; indeed, bad it mt been
for flic rreular subucrihrrs, the house miifht as well have heen
closeil Sii.r||„r liirlj.ij.i hori-, :is nt Nnplcs, proved very un-
fortunate in liis »pi'i ijl:iiii'ris ; hr thmjirlil In iii.iko llie li.ii'ne hit
•ith Darid as at Viciuui, iwii »«» M.wt'iil'', il'siipiMiintnl. Var-
Caf^apera of Homt-o e Oiulietta, of whitli «c liave luid ocra-
y fP"*** ^ aot eentinue to increase in favour, and
W tt«lly withdrawn. Next caaic Paer't SargtHo, in the
aMwnd act at which David intmdnced a Reaiinian air fiwn the
Odoarda e Crittinm (properly snealdnf , firwn JSnMone). which
bad tha affect of sarinr hiai, and «tre«g:theniafr hb small party.
Anar aafwiMo, we hndlfcfHbeai'B MmrghmrU* itAmiau, which
«w «ani|MMlr ttatawed in Mtt handa ai tha linaci Saatfaii
Mi Oitaadbiik Btthv ar whM ia AM «w ttwif^

tMMttOyeipeetad. The aeeend act of the above.
ianaawheLw men sueeessAU than the irat, the very
I pini wna adopted ef giviiif twa aaaaod aela t aaa*

eoBiaieaa psan wna aoopeea m giniif rara aaaaM ana t aaa»
fiwtha atte i€ anity. we euppeie, a giand hdil w«a MM-

ducMl between the two.

Ti-atro FU«-drm»att««4 — ^This honae opened with
nianea e Faiiero, in which appeAre<] two dilettanie, Maria
Lewis, one of your countrrwomen. and the tenor Tia
AlasaadBt^ wha bath disttn^uiohed th

Naples.

Trnlrii S, (\jrui. — 'I'liK f...!].,H is tlic suhstniicf iifllic Pro-
spectus tiat \iAi (itrn is.-.iii'd fur the present Mason, up to the
Holy AV'eek of 1S27: — I'he management cnf^afes tu g^ive one
iuindred and twenty representations, three per week, betides
ten nHHknd balla'wrinf the Caraival. There are to be four
newf^iasiatoia aelB. aadCaa aaw onaa la one act, betidca
t > (. opetaa of aahaairhJgai — t"— *t bat nabMnm to
N.il'Ies. Thelbllowiaf aMthaniBitei«tobaattfaadb|Miilim
of the Manatrement :--Oiiicoaio Mejeibeer, Giovanni Pacini,
Stefano Pave*i, Sarario Metcaadante, Piebn> Raimondok Oaa»
tnno Dmixictti, Viocenso Bellini. Conti. Oafliardi. The liat
of singers is as follows : Prime c^onne— Enrichetta Meric Lb>
Untie, Britrida Lorensani (for six months), Carlotta Unger,
AdeUidc C'Oinelli Kubini. Primi tenori — Dooienico Donzelli,
Ok»'. Kattista Rubini (fur six luontlis), Giuseppe Cicimarra,
Primi lidtii — Liiici I.iblachr i six months, to }>e succeeded by
Si(fnor Aiiihnisi l, Miehele IW'tiedctti. Smnde (/»n«f— Auie-
rinJa ManiDtrhi, Klis.i Manntcrlii. Xt'xt emue^ the Hit i.f
periMiiuu^es fur the dance; tliree bidlel-nwstcr*, four lirt.t-rate
dancers, ten fnN»t female,

Th(; season opened with live Sfmiramtrlr of Ilosiini, in
H'liirli M.'idanii* L.ilando obl.iiiirii irn iil iiriil i.ii riti'il .i[i;.;,iu«e.
This was followed by a new u|>era truui the pea ut I'ave^i, en-
titled // Solitario td Eloida, wbit-h was tolerably surreasfol,
and could boast of aome pieces of merit far above the cuiumon.
Aftar tUt wna Nfitad Rahaaadi'a opeiatia of ^iwto.

TeaAw f^Nufoj— The leaaaa here opaaadwUb anew open,
entitled Odda, the muiic by Biagioti, wlibb plaaied: it ivtio-
duced to the public a new singer of the .HflM of Giu^tta Sai^
vo!i. Cimarosa s glorious cooipusitioa. the JUMrAaanle St-
creio, followed, ana was ably supported by (ha nnited takula
of I'nfcer, Lablache, and Rubini.

Teatro San Carlo. — The opera witli which this theatre
opened was liiancn e Otrando, tlie music bv Si^or Ucllitii. in
wliicli Madame Lalande sustained the priiKipal < liara( ti r \v;lh
jfreat force and talent: indeed the wluile pcrrumunce was
craaraad Witt antta aaeeHa.

BOLOGNA.

Thh only opertts we have had here lately, have been the Bariiert
di Sitrigli* and il Taneredi of Ranini. in whidilaBtapimlfaii-
fredini and Uaichetini distinnished themielvee, aa wall hf ttdr
exiedanttt||inr,aatbeirchaw»aad UDpnmve style of actiobaad
met widi the appluiae to which thetr neriti were Justly eamled.

GENOA.

MKrKnnEKR'i: Crocialo was resumed atrain this season, and
rontiniiesjio t;ain pround in the public favour. Afterwards,
Roisini'ii old opera, Oiloardo e Christina was attempted, but it
it ns aliRiKt immediately nhliped to resign itself to the Crwiato,
wliith hxd a Kiai evsfiil run fur several nigfata. Iiaat caaia

Alorliifchi's pic, tsirij,' opera Tfliahio fd bJiMf wUtt waa WVU

cas^ and gave general satisfaction.

PARIS.

A Mile, renari has appearet) at the Tlirkltrc Italieo, SS Anat9
in La Srmimmidc. ilcr voice, u mezzo-sopranc^ is Sonoraus,
anil shn siiiL'^ ill a pure style. She is said to be only nineteen
yairs of age ; thin, if true, will account for the exceM in hn
action and emphasis. Her aaaoaaa hia baaa jiaalj and (he muf
ha landatad very aaeliil.

AltfaaTbMliiFiniiicaiaacttrionaand inatnictive aceaa «u
latafyolAflais ttnwbde pit (porUrre) roie up, aad demaadad
Ihi iiialiiaa if Ibn illiiiniiii mil lha ataaafata any leoftf

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250

THE UABMONICON.

HU*. CutaMB hM HMncd in tt Matrimonio Segreto, not
M dw mmKt, Int wauuqp h Carolina .' However', the i^ot
thruof h the put m wdlai»«iUiberbr«k rn voice and antique
nMksner. conld Itava been experUi. Gr.Ui, a.'i Gcronimo, tanr
ntkcr IcM out of tunc than iiKiial. •ml Zucfaclli repraentra
Cmnt RobiiiMn vrrr ni;n<eably. The want of tolmbie mii-
iMfement in the TLt^tre Ftalicn ii more attd more appnrriit : it
would term that in pro|tiirtii>n as a man ctmiptwe* well, he
dircrf* ill. Such at kast has proved to Iw the case with the
grim i>uustro.

It is said that the nutorioul Bochta is to hare *4ime i>barc in
the iliro'tiori of the Kin^i Tkntoe is LwdOBtliitiNKtMMon.

Wc rannot rrcdit it.

A Miliscriptiiin fm- n in><niiment to Talmi horn opened,
to which the Coriu'ilif Fran^ite rontriUute* 12,0(X)f. ; Msul.
Catalan!, 300; Madlle. Nohlet, 50. The immpniely rich
Hvnstute, Allle. Digdtini. puts her name down for 80f. ! (tixleea
-aUUnip) md Ma4. Piutn hm nut sent a mm.

AMSTERD.4M.

-0» the Ml Seplemhf r died in this citr, )(. Winkel, well
■'talMra for hb skill in mechanical science, particularly as applied
to Basic. As a nrnof of hii taJents, we need only roentinn the
Componium, or Musical Improvtsaturs*, which excited threat
interest amonfst conanisacan, partinilarly at Paris. Sereral
other sperimens of musical mechanism du honour to his talents
but in private life be was nimli-^t, and utlien ol'iin ubLuurd
credit for inventions wbitth M. Winkel inifht jmtlv li;ivi> i IiuiumI.
The .M<-trouonie, usually called AI»ol7.< 1>, 'i i^-i i i.. bi-iir the
n.-unc nf Winkel. for the ori^nal idea was bis; alth<iu;fh it i*
true (Iiat Machei brought lo perfection the instrument which
was invented by the Dutch mechanic— Aerwe EneifciopiJiiquf.

Ci)e Brama*

King's The.^tre.

TiiR opcnini; of tlie Italian Opera was announced for the 95th
of Nore niher, when, as almost a matter of course, it did not
unclose its doors, nor does it ^pcsr tiMt opmtions are likely
tQ ca m iB W TWy soon. These MMHIIIWWWtt are most com-
nMiI/ made for tlie purpose of qMiMv* few sub»cription!>, a
Iktb nwly nomjr, bafora tha ttiw It la Aw i but the box-
lieldns are grown wan. and tte miv hie prored minecessful.
Indeed miniT of the niMcribers becin to ask, and with i^reat
reason, if tne idglita of which t\\ej were io unfiiirljr deprirml
last season, arc not to be allowed for In tbe present. Unlexs
Booie arrani^eiiient to this effect be made, we have reason to
know that a formidable dinEatisfactiou will be excited.

Siipior Porto is not eny;>f.'cd ; he required, as a sine qua no»,
to rtriMM- his .^alnrv by four inntalmrnts, cirh to be paid in
adiiiiirc: the ii.-rii;s, ill fact, that l';i>ta .inil Ciirioni have
cxartfil, an'l wliii li .ill, who have taken wnminir from thi* events
of last scaMiii, have dciiiandcil. Zuchelli and Galli hud not en-
tered into any cnira^rinpnt a few tlays aifo ; and as to Donzelli,
he is fixed for live M-ars at the Thttilre Ituliru, at a iMilary of
l,G6(y.,t with a romlition that he uhall, during the term, go
twice to London, the expenses of his journey and Indfpng beinfr
paid bim. But this depends upon some secret trcatr between
J h>hri e» the tejfman'o of the Naples theatre, and Ronioi,
aOllded 1* in eletter in o«ir number for October last, pa^e 194:
if Donfrili eoosca here, tkoie two maaaf ers will divide between
dMB whaterer he ia paid here ; thef are, in reality', endeavour-
ing to establish a mooopoly of lioni^ vhon» if tkaj ioeeeed,

(her will hire out like so much cam.
Bigaor Coceia he* feiiuad te tain hie

this pcwre*

• See Harmokicok, Vol. II,, p. 40 and 108.
+ Thi» seem!! a larpr mm for any phicc except the Kinj'a
Ttioalrr, whiMc i.i Dilijnliiy and it-mitj (;«. Iirin.l n Imml. Rut ihc
engagement in racit is (or a whole jear, and the iheatre is opon
ihm liaus a weeis. B aiidta wMclb (he petftnaeia m toaMlio
I at othit pkeaa tf ealled apoB foe lh& aisvlaei^ JS

Ar iMral dwietcr. The phwe waa offered to Mr. Pto
. whodeeBiied; anda Mune. Dumoa hae taken the
aitaatian. Tbe loss of Signor Coccia will be scniBilr felt. He
haa bowerer undertaken to cooipooe an opera, ana the tame
are agreed on ; but we hope for hie aake that they ate legsllj
aeltled. A puffin; parsfrraph in seeie of the daihr pa|Mra
states, that he has chosen Mary Stuart, Queen of Scots, for
the subject of his drama, and adds, in the usual strain, that
" report »\tc:\\i* very highly" of this work — not a note of which
h ypi written f The same paragraph contains more of the same
uulhrnlir kind of infortuatiun, and taika very freely of tbe In-
tcndeil visiiii of eoiiipri^ers, who do not mean to come, atul of
perfurraers engaged, wlio cannot quit Italy till next atttuom.

Dulrv L\nk THBani.
On 7'iieMlay tin- aisi of October, m nevOpcra. ladarthe
title of The two Houirx of Grrnaila. was produaed here ; eeiii«
poaad hy J. A. Wade, Esq., and written, it is laid, hy tlie wmm.

DaiMsTia PaaaoMs:.

Pi n ('ailiit .... Mr. Rrah.tm.

D\in (Vi/.Tmrin .... Mr. Donton.

.Smrhf Mr. Hurley.

y>on Chrtttatal , . . Mr. Hots.

Cbsmt ralmUm Itt. Pope,

OS Peh .... Mr. Browne.

Potlriilo Sch^flmmm . . Mr. Gattie.

/Meijro , ■ . . . Mr. Tajrieore.

Donna Maria , . • • Miss Graddon.

J'UHU'i • • . • MisaCubilt.

OoHna JtUia .... Mrs. Gecsin.

The st<iry is told in a few words. Pon Ouima* and Count
I'atrntine are the he.ids of faihilics of Grenada, between whom
a deadly enmity subsists- Carios and C/irUtoi/al, tnnt of the
two former, resolve to terminate this hontilitv. and for this pnr»
pose iirio]it .1 stranue evpedient. We IfMrii tnun their conver-
sation, that, by one of those chances, n hirh never happens but
on the sta°'e, that neither of tl.i in sei-n dis fiither ir»m a,
very early asre. The pl.in is, that (Shriitovnl jh.ili pass for tho
t;on of Ciiunt /'fi'V /./]■». .itiil Cnrlot I'or the son of fion Gux^
man. It turns out further, that each of the young ^ntlemea
haa a sitter, and that Uarim, tbe lieler of Catiat, ia bring, dia-
guised as a page, with the sister of OkrUlotml. It ia not ne*
irTtoadd.thak Garfae and CMrUI$tal m mfHO^bk
m&JiMH and JUerfa. as they an hamd tohc^ hrHHHl*
«nMM«, Tta»ii»tindc«ndkbialbrlihahaad«r«MtolK

the penao of €ttPtl9,m egiegiona eoscoaA^ wheae «ri|yg8B

is to lengtben tbe piece. Tbe scene lies, almost throughout, in
the hoitse of Outntan, Tbe rest mav easily be imagined ; the
whote ending, of course, in reconciliation and a dutible marriage.

This piece has been successful, and the zeal cf tbe performera
adds to its attractions. Of the music, as we shall hereafter hare
to notice it in another department of our publication, ve shall
nnlv say at prei-enl, that it pretends to none of the crand effects
that are now so •,'encrallv ai:iiedat; thiit tnin i nt it i> [jn-tty,
and tliat there is somet^o^m Hmore like ^originality thau we

Cov F. NT-G -MID EN Til E.VT BE .

ly/j r>amr lUaiiche, with all its original imivie, will iinmodiateir
be bniught out liere ; and Mozart s F.hU i fim nt ilu Serait,
tranilatcd and adapted to the English stage, is iu preparation.

PHILHARM( \[( SOOBTY.

Thk Concerts of the cnsuiii? season are fixe<i for the following;
Mondays,— Febru.irv 19; March 5. 19; April «, 2.1: May 7,
21 ; .lune 4.— The rehcarsalii will be held at Twelve o clock ou
the preceding Saturdav Marniiigs, as usual, with the exception
of that for the last Concert, wt&k viO tah* plM» M SBlndl|»
June 2nd, at Ten o'clock.

At the last meeting of the members of tliis Society, Stgwr
Coccia— who has for some years past presided at the ptano-mte
of tbe Kini'a Thanm M "
thereof.

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